破除魔咒

內(nèi)容概要

　　《破除魔咒：安吉拉·卡特童話反寫作品中的身體與主體》試用福柯的身體與主體，權力與抵抗理論闡釋卡特童話反寫作品的主題，從而重新審視這些作品的女性主義價值。本論文的中心觀點是卡特的反寫是以身體為視角，以主體探求為目的的雙重結(jié)構：一方面揭示了經(jīng)典文本中父權通過規(guī)訓、懲罰、自我監(jiān)視等身體手段塑造馴順女性主體的過程；另一方面通過對叛逆女性的積極描寫為女性在現(xiàn)有權力關系中通過身體尋求主體性提供可能?！镀瞥е洌喊布たㄌ赝挿磳懽髌分械纳眢w與主體》還將用?？氯魏蔚挚苟贾荒軄碓从跈嗔?nèi)部的觀點解釋卡特作品中存在的含混，并得出結(jié)論——卡特的童話反寫從總體來說是女性作家在話語領域?qū)σ愿笝酁橹鲗У臋嗔﹃P系的抵抗。

作者簡介

穆楊，女，回族，1974年12月出生于遼寧省沈陽市。2007年6月畢業(yè)于北京外國語大學英語學院獲文學博士學位?，F(xiàn)任教于北京語言大學外國語學院英語系，講師職稱。目前主要從事20世紀西方文學批評理論、英美小說等方面的研究，尤其側(cè)重后現(xiàn)代主義、女性主義、新歷史主義等理論與英美現(xiàn)當代小說批評實踐的結(jié)合。課題《當代英美女性作家童話改寫研究》獲2008年度教育部人文社會科學基金青年項目立項。

書籍目錄

AcknowledgementsAbstractIntroductionChapter One From Body to Subject in the Rewriting of the Fairy TaleI. RewritingA. Rewriting and IntertextualityB. Postmodernist Pastiche vs. Postmodernist ParodyC. Modernist Parody vs. Postmodernist ParodyD. Carter's Rewriting——a Postmodernist ParodyII. The Fairy TaleA. Carter's Inclusive Definition of the Fairy TaleB. Fairy Tale as a Multi-layered DiscourseC. Carter's Fairy Tale——a Feminist DiscourseIII. SubjectA. Definition of SubjectB. Definition of the Female SubjectC. Postmodernist Debates on SubjectIV. BodyA. Body in the Western Metaphysical TraditionB. Michelle Foucault: Body as the Site of Power and ResistanceC. Feminist Appropriations of Foucault's TheoryChapter Two Disrupting the Submissive Female Subject: Body as the Site of PowerI. Objectified and Fetishized BodyA. The Objectified Body under "the Eye of Power" in "The Snow Child"B. The Cinematic Fetishization of the Body in The Passion of New EveII. Imprisoned BodyA. Carter's Sleeping-Beauty StoriesIII. Disciplined and Exploited BodyA. The Magic ToyshopIV. Violated and Afflicted BodyA. Sadism in "The Bloody Chamber"B. Rape in "Leda and the Swan"V. "Gender Trouble"A. The Transformations of Evelyn and Tristessa in The Passion of New EveChapter Three Reconstructing a More Autonomous Female Subject: Body as the Site of ResistanceI. Alternative Body against the Patriarchal AestheticsA. Nights at the CircusII. Violence and Murder as ResistanceA. Lizzie Borden's Parricide in "Fall River Axe Murders"B. Doll's Revenge in "The Loves of Lady Purple"III. Self. commodification as ResistanceA. Self-commodification in "The Courtship of Mr Lyon" and "The Tiger's Bride"B. Seller and Commodity in One in "Black Venus"IV. Autonomous Female DesireA. "The Company of Wolves"V. Maternal Body in PowerA. Mother Goddess in the Passion of New EveConclusionAppendix: Source Texts for Carter's Revised TextsWorks Cited

章節(jié)摘錄

版權頁：took her viscera in a stern hand and squeezed them very tightly" （ "Axe Murders" 71） is a more obvious cultural symbol.  Designed for waspwaist, the prevailing of the corset is not simply an aesthetic issue. For Bordo, The tight corset indicates self-restraintand control as "an ever present monitor"（162）. In a corset, awoman can barely sit or stoop, unable to move her feet more thansix inches at a time, and suffering from regular fainting fits. Andthe nineteenth-century hourglass figure represents a domestic,sexualized ideal of femininity, rendering the female body unfit toperform activities outside the domestic range（181） .  Either tomonitor or to repress the female body, power aims to render ituseful. In any patriarchal culture, the useful female body mustfirst of all be obedient.  Victorian culture makes a set of rules andregulations of dressing to train, shape and subjugate a femalesubject. For Carter, all garments are open to interpretation. She maintains that the nature of apparel is very complex.  Clothes areso many things at once. Our dress in fact expresses ourenvironment and it does so almost at 6'a subliminal, emotionallycharged,  instinctual,  nonintellectual level"（ "Sixties Style" 85） .Clothes, as the external part of the body, communicate between the subject and the social environment. Lizzie's heavy and tight clothes reflect the environment r power relations she is in.

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《破除魔咒:安吉拉?卡特童話反寫作品中的身體與主體(英文版)》由中國社會科學出版社出版。

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