本文選題：《內(nèi)陸深處》 + 女性主義��； 參考：《揚(yáng)州大學(xué)》2014年碩士論文

【摘要】：約翰·馬克斯韋爾·庫切是繼納丁·戈迪默之后第二位獲得諾貝爾文學(xué)獎(jiǎng)殊榮的南非作家。他以簡潔含蓄的行文方式和風(fēng)格多變的創(chuàng)作手法著稱。在其作品中,邊緣群體不僅是他關(guān)注的焦點(diǎn),而且人在困境中的自我拯救更是他所希冀表現(xiàn)的重點(diǎn)。小說《內(nèi)陸深處》就是這樣一部作品,它是庫切發(fā)表的第二部作品。該部作品被置于日記體這一特殊的文本框架下,由一位女性采用一種亦幻亦實(shí)的方式講述,痛苦地再現(xiàn)了在后殖民背景下,女性被拒斥的人生,同時(shí)表現(xiàn)了其馴服的外表下不甘淪為歷史棄兒的幻想和抗?fàn)帯?小說主要講述了南非種族隔離時(shí)期生活在內(nèi)陸深處的白人老處女瑪格達(dá)在父權(quán)制壓迫下的生活狀態(tài)。一方面她渴望得到父親的關(guān)愛,異性的愛慕,并成為一個(gè)完整的女人；另一面又痛恨父親的殘酷,仆人的無情,在幻想中極力要掙脫自己孤獨(dú)的生活窘?jīng)r。于是,她竭力控訴并在想象中實(shí)施了報(bào)復(fù)行為。在第二次弒父成功后,瑪格達(dá)力求與黑仆亨德里克以及黑女仆克萊恩·安娜形成一種平等的關(guān)系,但殖民主義由來已久的壓迫,使得黑、白兩色人種之間的仇恨根深蒂固,并朝著相反的方向惡化。最終,瑪格達(dá)的希望落空,被遺留在內(nèi)陸深處這座孤寂的農(nóng)場里。 本文擬從女性主義相關(guān)理論出發(fā),結(jié)合日記體小說的特點(diǎn),以瑪格達(dá)、瑪格達(dá)的母親、克萊恩·安娜為切入點(diǎn),探討邊緣女性在父權(quán)制家庭和白人中心主義社會(huì)體制中所遭受的壓迫。同時(shí)借助�？掠嘘P(guān)話語與權(quán)力的理論,結(jié)合西蘇的“女性書寫”,分析日記體小說形式在幫助女性爭奪話語權(quán),言說女性自身體驗(yàn),從而實(shí)現(xiàn)反抗父權(quán)制壓迫方面的作用。最后探討了庫切如何通過建構(gòu)女性形象,解構(gòu)男性形象從而實(shí)現(xiàn)顛覆父權(quán)制和殖民主義。 論文主體部分包括三章： 第一章從瑪格達(dá)的母親、瑪格達(dá)和克萊恩·安娜三個(gè)主要女性人物出發(fā),以三組二元對(duì)立關(guān)系為基本框架,探索女性在父權(quán)制家庭中的“他者”地位�，敻襁_(dá)的母親是丈夫權(quán)威的服從者和犧牲者；瑪格達(dá)是父親權(quán)威的受害者但卻醞釀著反抗的細(xì)胞；克萊恩·安娜則是多重壓迫下的“他者”。她不但遭受著來自男性的壓迫,同時(shí)還肩負(fù)著來自女性優(yōu)越群體的壓迫,因此可以稱得上是“他者”中的“他者”。 第二章從日記體小說這一特殊體裁出發(fā),首先分析了第一人稱敘述在爭取女性話語權(quán),掌握主體權(quán)力方面發(fā)揮的作用；其次,從日記體內(nèi)心獨(dú)白所具有的真實(shí)、封閉等特點(diǎn)入手,分析其對(duì)于增加文本可靠性,從而達(dá)到真實(shí)地進(jìn)行自我言說的目的的優(yōu)勢；最后從日記這一具體文本出發(fā),分析日記寫作如何為女性提供了一種言說自身體驗(yàn)的寫作途徑,從而使女性回歸到了文學(xué)的中心,權(quán)力的中心。 第三章主要探討了庫切小說中人物形象的解構(gòu)和建構(gòu)。一方面庫切通過使其筆下的男性人物弱勢化,失聲化和無名化的方式,從而達(dá)到顛覆父權(quán)制和殖民帝國的目的；另一方面通過塑造積極向上的新女性形象而使女性從邊緣位置回歸到了中心。 總之,通過分析庫切小說中的人物形象及寫作技巧,我們可以了解到庫切對(duì)邊緣人群,尤其是對(duì)女性這一群體的關(guān)注,以及他高超的寫作手法。
[Abstract]:John Maxwell Kuche is the second South African writer who has won the Nobel prize for literature after Nadine Gordimer. He is famous for his concise and implicit style of writing and the changeable style of creative writing. In his works, the marginal group is not only the focus of his attention, but also the self salvation of man in the predicament. The novel < inland depth > is such a work, which is the second work published by Coetzee. Under the special text frame of the diary, the work is described by a woman in an illusory and real way, which painfully reproduces the rejected life of the female in the postcolonial background, while showing his taming. The appearance of clothes is unwilling to become the illusion and struggle of historical abandoned children.
The novel mainly tells the state of the white maiden Magda, a white maiden living in the south of South Africa, under patriarchal oppression. On the one hand, she longs for the love of her father, the love of the opposite sex, and a complete woman; on the other hand, she hates his father's cool, the servant's merciless, and in the illusion that she is trying to break free. In her lonely life, she tried to accuse and envision revenge. After the second killing of her father, Magda sought to form an equal relationship with the black servant Hendrik and the black maid Klein Anna, but the long-standing oppression of colonialism made the hatred deeply rooted between the black, the white and the two colors. In the opposite direction, Magda's hopes were lost and left in the lonely farm deep in the interior.
This paper, starting from the theory of feminism and combining the characteristics of the diary novel, explores the oppression of the marginalized women in the patriarchal family and the white central social system with Magda, Magda's mother and Klein Anna as the breakthrough point. At the same time, with the help of Foucault's theory of discourse and power, it combines the "female" of the Western Soviet Union. "Sexual writing", the analysis of the form of diary style novels in helping women to fight for the right to speak, to speak of women's own experience, and thus to resist the oppression of patriarchy. Finally, it is discussed how Coetzee has constructed the image of women and deconstructed the male image so as to subvert the patriarchy and colonialism.
The main part of the thesis consists of three chapters.
The first chapter, starting from the three main female characters of Magda's mother, Magda and Klein Anna, explores the "other" status of women in patriarchal families with the basic framework of three groups of two yuan antagonism. Magda's mother is the obedient and victim of her husband's authority; Magda is the victim of father's authority but is brewed. With the cell of resistance; Klein Anna is the "other" under multiple oppression. She not only suffers from the oppression from the male, but also bears the oppression from the superior group of women, so it can be called "the other" in the "other".
The second chapter, starting with the special genre of diary style novels, first analyzes the role of the first person narration in striving for women's right of discourse and mastering the power of the subject. Secondly, starting with the characteristics of the truth and closure of the diary's heart monologue, it analyses its reliability of increasing the text, thus achieving a true self speech. In the end, the author analyses how diary writing provides a way for women to write their own experience, which makes women return to the center of literature and the center of power.
The third chapter mainly discusses the deconstruction and construction of the characters in Coetzee's novels. On the one hand, Coetzee can subvert the patriarchy and the colonial empire by making the male characters disadvantaged, disadvantaged and infamous. On the other hand, by shaping the positive image of the new women, the women will return from the edge position. It's in the center.
In a word, by analyzing the characters and writing skills in Coetzee's novels, we can understand that Coetzee's attention to the fringe group, especially the group of women, and his high writing skills.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：I478.074

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相關(guān)期刊論文 前2條

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本文編號(hào)：2031074