性別·種族·空間

內(nèi)容概要

伊迪斯·華頓是19世紀(jì)末20世紀(jì)初的美國女作家，著有關(guān)于意大利、法國和摩洛哥的游記共六部。這些游記作品不僅反映出她如何看待、再現(xiàn)異域景物，更揭示了她如何在文化他者的襯托下定義自我的過程，其文本充分展現(xiàn)了華頓在強(qiáng)烈的逾越?jīng)_動(dòng)與難以抗拒的傳統(tǒng)力量之間經(jīng)受的張力，蘊(yùn)含著相當(dāng)?shù)奈幕瘡?fù)雜性。     本書在結(jié)構(gòu)上分為三部分。第一章從“影響的焦慮”談起，論述華頓在難以出新的游記領(lǐng)域另辟空間時(shí)既反抗又妥協(xié)的做法；第二章以自我和他者的關(guān)系為切入點(diǎn)分析了華頓在描述異域景物方面顯露出的既靠攏又排斥，既侵入又謙服，既高傲又恐懼的復(fù)雜心態(tài)；第三章圍繞性別來檢視華頓的女性觀及其建構(gòu)游記文本的方法，并從人稱指代方面考察其女性敘述策略。

作者簡介

吳蘭香，女，江蘇人，東南大學(xué)外國語學(xué)院英語系副教授，碩士生導(dǎo)師。曾在美麗的北方城市長春求學(xué)7年，獲吉林大學(xué)外國語學(xué)院的本科及碩士學(xué)位。2003起，在南京大學(xué)外國語學(xué)院攻讀英語語言文學(xué)專業(yè)博士學(xué)位，于2007年夏畢業(yè)。2008年夏赴美國耶魯大學(xué)英語系做訪問學(xué)者，在東北海濱小鎮(zhèn)紐黑文度過了難忘的一年。主要研究興趣為后殖民理論背景下的美國現(xiàn)當(dāng)代游記文學(xué)以及英語文學(xué)作品中的種族、性別、科學(xué)觀等話題，在《外國文學(xué)評(píng)論》、《當(dāng)代外國文學(xué)》等國家級(jí)核心期刊上發(fā)表過學(xué)術(shù)論文，合譯過英國作家多麗絲·萊辛2007年的作品《裂縫》。

書籍目錄

ABSTRACT中文摘要ABBREVIATIONSIntroduction  The Resurgence of Interest in Travel Writing Studies  Characteristic Features of Travel Writing  American Women Abroad  Critical Receptions of Edith WhartonChapter One  "The Beaten Track"--Edith Wharton and the Genre of Travel Writing  Beyond the Anxiety of Influence  The Foreground and the Background  The Technical and the SentimentalChapter Two  "The Vast Unknown Just Beyond"--Edith Wharton's Othering Gaze  The Discursive Formulation of American Travel Writing  Differentiation and Discrepancy in Wharton's Portrayal of European Landscapes  An Incoherent Imperial RhetoricChapter Three  "The Secret Garden"--Edith Wharton's Feminized Sphere and Defeminizing Stance  Resistance against and Reconciliation with the Leisure Class Concept of Women  Critical Skepticism and Textual Appropriation  Gendered Authorship and Ruptured PersonaConclusionsWorks Cited

章節(jié)摘錄

This paragraph-long quotation reveals Wharton's aesthetic approach. Instead of directing travelers' eyes to the central figures of paintings, she provides an alternative way to capture the unseen world in the distance, because, as she claims, the peripheral is the part that tells the real story. The way in which artists arrange the background sceneries betray their "conceptions of life and faith," reveal the particular idea that they have towards the world around them. In addition, the order of positioning cultural objects and the decision to include or exclude certain materials in the paintings suggest "a sophisticated ideological device that enacts systematic erasures" （Rose 87 ）. Therefore, the painting has actually become a representation of "visual ideology" （Rose 91 ）, an important critique of the artists' world.The idea of the central and the peripheral works not only with paintings, but also with the artists themselves. In her title chapter " Italian Background," Wharton picks up Tiepolo and his lesser known colleagues as an example. While Tiepolo is foregrounded by the popular travel books as a famous decorative artist, what is unnoticed is that he is also "a devotional painter. " Applying her aesthetic connoisseurship to the judgment of paintings, Wharton makes the assertion that in the light of Venetian painting "Tiepolo is seen to be the direct descendant of Titian and Veronese" （IB 207）. Extending her ideas further, Wharton moves on to other artists whose works are equally important to the study of eighteenth-century Venice.

編輯推薦

《性別·種族·空間:伊迪斯·華頓游記作品研究》：新學(xué)識(shí)·英語語言與文學(xué)研究博士文叢。

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