本文關(guān)鍵詞： 瑪格麗特·阿特伍德 《神諭女士》 女性成長(zhǎng)小說 反烏托邦思想 陰性書寫　出處：《西北民族大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：瑪格麗特·阿特伍德是加拿大著名的詩(shī)人、小說家和評(píng)論家,在近半個(gè)世紀(jì)的創(chuàng)作中,以其創(chuàng)作的多產(chǎn)和先鋒實(shí)驗(yàn)的寫作手法在世界文壇上倍受矚目,被譽(yù)為“加拿大文學(xué)女王”。作為20世紀(jì)加拿大英語文學(xué)最具代表性的作家之一,她的寫作實(shí)踐并沒有被某一框架所概括,女性、民族、神話、環(huán)境、后現(xiàn)代寫作均為人們所熟知。本文主要以她的第三部小說《神諭女士》為例,探討了阿特伍德長(zhǎng)篇小說中的女性成長(zhǎng)話題。 本文主要分為五個(gè)部分,第一部分緒論：綜述阿特伍德的國(guó)內(nèi)外研究現(xiàn)狀,介紹成長(zhǎng)小說及女性成長(zhǎng)小說的淵源、定義。第二部分：“家”神話坍塌下的女性成長(zhǎng)。從女人主公瓊與母親的性別對(duì)抗和認(rèn)同、對(duì)父性的渴望與幻想破滅揭示了在強(qiáng)大男權(quán)中心主義統(tǒng)治下女性成長(zhǎng)的先天疼痛。第三部分：探索小說反映的女性成長(zhǎng)的反烏托邦思想�！凹摇鄙裨挼奶�,阻隔了女性第一溫情的體驗(yàn),瓊的一生都與孤獨(dú)創(chuàng)傷相伴,不符合男權(quán)審美的體型使她缺失了親情、友情、愛情；減肥成功后,不符合男權(quán)文化的精神世界又使她充滿著不安全感,表面的妥協(xié)沒有為她換來安穩(wěn)的生活、幸福的婚姻,現(xiàn)實(shí)與理想的沖突使她一生都處于逃離的狀態(tài),每一次逃離都是一種充斥著疼痛的成長(zhǎng),鏡子是她惟一的朋友,她通過鏡子完成自我審視和認(rèn)知,與死者對(duì)話也是她自我成長(zhǎng)的主要方式。第四部分：陰性書寫。女性在經(jīng)歷巨大的創(chuàng)傷和孤獨(dú)之后,必然需要一個(gè)可靠的宣泄途徑,書寫便是這種途徑之一。瓊在小說中便是一位匿名女作家,書寫滿足了瓊抒發(fā)感情、感知自我的需要,但同時(shí)匿名書寫揭示了男權(quán)對(duì)女性生話語權(quán)的剝奪。阿特伍德寫小說《神諭女士》創(chuàng)造了主人公瓊,瓊通過自動(dòng)書寫發(fā)表的詩(shī)集《神諭女士》創(chuàng)造了一個(gè)令人敬畏的女預(yù)言者形象,這種書中書的意義與價(jià)值所在就是女性突破男權(quán)桎梏的成長(zhǎng),雖然疼痛卻是必然,她們需要一種自己的眼睛和舌頭來完成自我認(rèn)知。第五部分結(jié)語：概括女性成長(zhǎng)在主流強(qiáng)勢(shì)文化下的困境以及自身成長(zhǎng)所要付出的代價(jià),這種對(duì)女性不健康、不健全的生命形式、生命內(nèi)容的叩問是為了建立一種新的女性文化一—打破女性失語和被男權(quán)文化置于盲點(diǎn)之中的文化,從而實(shí)現(xiàn)兩性的和諧共生。這是一種走向死亡的新生,只為驀然回首,看到地獄深處用眼淚和鮮血澆灌的彼岸花開,燦爛依舊。
[Abstract]:Margaret Atwood is a famous Canadian poet, novelist, and critic, and in the past half century of creation, he has attracted much attention in the world for her prolific and pioneering writing techniques. In 20th century, as one of the most representative writers of Canadian English literature, her writing practice has not been generalized by a certain framework, women, nationality, mythology, environment. Post-modern writing is well known. This paper takes her third novel, Lady Oracle, as an example to discuss the topic of female growth in Atwood's novels. This paper is divided into five parts. The first part is the introduction: the review of Atwood's domestic and foreign research status, the introduction of the origin of the growing up novel and the female growing up novel. Definition. The second part: the female growth under the collapse of the myth of "home". From the female master Joan and mother's gender confrontation and identity. The desire and disillusionment of fatherhood reveal the inherent pain of female growth under the rule of strong patriarchal centralism. The third part explores the anti-utopian thought of female growth reflected in the novel and the collapse of the myth of "home". The first tender experience of women, Joan's life and lonely trauma accompanied, not in line with the male right aesthetic body so that she lacks family, friendship, love; After the success of weight loss, the spiritual world that does not conform to the patriarchal culture makes her full of insecurity, the superficial compromise did not change her to a stable life, a happy marriage. The conflict between reality and ideal makes her escape all her life. Every escape is a kind of growth full of pain. The mirror is her only friend, through which she completes her self-examination and cognition. Talking to the dead is also her main way of growing up. Part 4th: negative writing. A woman who experiences great trauma and loneliness must need a reliable way of catharsis. Writing is one of these ways. Joan is an anonymous female writer in the novel. Writing satisfies Joan's need to express her feelings and perceive herself. But at the same time anonymous writing reveals that male power deprives women of their right to speak. Atwood created the protagonist Joan by writing the novel Lady of the Oracle. Joan created a formidable image of a female prophet by writing and publishing the book of poems "Lady Oracle", the meaning and value of which is the growth of women beyond the shackles of male power. Although pain is inevitable, they need a kind of their own eyes and tongue to complete their self-awareness. 5th: summary of the plight of women growing up in a dominant culture and the costs of their own growth. The question of the unhealthy and imperfect life form and life content is to establish a new female culture-to break the female aphasia and to be put in the blind spot by the patriarchal culture. This is a new life to die, just to look back and see the flowers of the other shore watered with tears and blood in the depths of hell, brilliant as ever.
【學(xué)位授予單位】：西北民族大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I711.074

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 孫勝忠;德國(guó)經(jīng)典成長(zhǎng)小說與美國(guó)成長(zhǎng)小說之比較[J];安徽師范大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2005年03期

2 楊金才;性別、身體與意識(shí)形態(tài)——當(dāng)代西方女性文學(xué)與社會(huì)變革[J];當(dāng)代外國(guó)文學(xué);1995年03期

3 張玉蘭;成長(zhǎng)著的女性意識(shí)——瑪格麗特·阿特伍德小說創(chuàng)作的基本母題[J];當(dāng)代外國(guó)文學(xué);1995年03期

4 劉曉靜;重塑女神——瑪格麗特·阿特伍德詩(shī)中的神話解析[J];當(dāng)代外國(guó)文學(xué);2002年02期

5 傅俊;瑪格麗特·阿特伍德研究[J];當(dāng)代外國(guó)文學(xué);2004年01期

6 琳達(dá)·海琪恩 ,謝紫;瑪格麗特·阿特伍德和她的創(chuàng)作[J];外國(guó)文學(xué);1993年04期

7 王麗莉;用自己的方式講故事——加拿大后現(xiàn)代作家瑪格麗特·阿特伍德[J];外國(guó)文學(xué);2005年03期

8 石平萍;開辟女性生存的新空間——析桑德拉·西斯內(nèi)羅斯的《芒果街的房子》[J];外國(guó)文學(xué);2005年03期

9 張玫玫;;身體/語言:西蘇與威蒂格的女性話語重建[J];外國(guó)文學(xué);2008年03期

10 方漢文;女性話語與拉康的后現(xiàn)代精神分析理論[J];國(guó)外社會(huì)科學(xué);2002年01期

相關(guān)博士學(xué)位論文 前1條

1 袁霞;反抗與生存[D];蘇州大學(xué);2009年

相關(guān)碩士學(xué)位論文 前6條

1 黃梅蓮;從瑪格麗特·阿特伍德的小說看女性的自我選擇之路[D];暨南大學(xué);2003年

2 陳香玉;瑪格麗特·阿特伍德對(duì)女性哥特的繼承與超越[D];蘭州大學(xué);2007年

3 張卉;加拿大特性的普遍性：從瑪格麗特·勞倫斯和瑪格麗特·阿特伍德的文學(xué)寫作看加拿大特性的缺失與建構(gòu)[D];四川大學(xué);2007年

4 李昊宇;論瑪格麗特·阿特伍德三部小說中的戲仿[D];蘇州大學(xué);2010年

5 甘宜娟;瑪格麗特·阿特伍德長(zhǎng)篇小說的敘事藝術(shù)[D];陜西師范大學(xué);2010年

6 陳s，

本文編號(hào)：1451470