喬伊斯·卡羅爾·歐茨的哥特現(xiàn)實(shí)主義小說(shuō)研究

內(nèi)容概要

　　喬伊斯·卡羅爾·歐茨(JoyceCarol
Oates)是當(dāng)代美國(guó)多產(chǎn)而多才的作家。她的作品中充滿了暴力，因而常常被認(rèn)為是一位哥特小說(shuō)家。歐茨在小說(shuō)創(chuàng)作中大量運(yùn)用各種哥特的技巧，但是，她借鑒哥特傳統(tǒng)是服務(wù)于其現(xiàn)實(shí)主義的創(chuàng)作目的，因此，她的當(dāng)代哥特小說(shuō)可界定為“哥特現(xiàn)實(shí)主義”。具體而言，這一哥特現(xiàn)實(shí)主義關(guān)注生活中暴力的一面，它借用傳統(tǒng)哥特小說(shuō)的技巧，賦予其現(xiàn)實(shí)的風(fēng)格與內(nèi)涵，以此揭露和批評(píng)美國(guó)社會(huì)與文化的種種弊病。它既體現(xiàn)了哥特小說(shuō)對(duì)人性黑暗的關(guān)注，又忠于現(xiàn)實(shí)主義客觀表現(xiàn)生活的創(chuàng)作原則。

作者簡(jiǎn)介

　　劉玉紅，廣西師范大學(xué)外國(guó)語(yǔ)學(xué)院院長(zhǎng)、博士、教授、碩士研究生導(dǎo)師，中國(guó)高等教育學(xué)會(huì)外國(guó)文學(xué)專業(yè)委員會(huì)理事，廣西翻譯協(xié)會(huì)常務(wù)理事。在《國(guó)外文學(xué)》《當(dāng)代外國(guó)文學(xué)》等刊物上發(fā)表論文多篇，出版譯著16部，主持國(guó)家級(jí)和省級(jí)課題2項(xiàng)。

書(shū)籍目錄

Introduction
Chapter 1 Male Killer as the Modern Gothic Hero
 1.1 Society as the Persecutor: The Triumph
of theSpider Monkey
 1.2 Society as the Accomplice:Zombie
Chapter 2 Female Killer as the Modern Gothic Heroine
 2.1 Family Violence and the Female's Split
Personality: The Rise of Life on Earth 80
 2.2 Sexual Violence and the Female's
Mental　Disintegration: Start Bright Will Be with
YouSoon
Chapter 3 Destruction of the American
Family
 3.1 Wealth Craze and Destruction from
Inside: Bellefleur
 3.2 Public Voyeurism and Destruction from
Inside and Outside:American Appetite
Chapter 4　Violence in Social Relations
Conclusion
Works Cited

章節(jié)摘錄

　　Oates makes it clear that the sexual violence against Sharon happens in ordinary and familiar places， and committed by different men.　The suggestion is obvious:　the crime is not a personal act; it is a "social experience". What is reiterated in Sharon's violent life， as in the traumatized Gotteson and Kathleen， is that society partakes in the vice it is supposed to exterminate.　　As a female serial killer who symbolically “ sucks the blood of other people" ， Sharon might stand as a modern version of the female vampire， one of the most recurrent images in the 19th-century formulaic fiction of the Gothic in which the female rarely becomes a serial killer until she is transformed into a vampire by a male vampire， like Lucy in Dracula （1897） and Camilla in J. Sheridan Le Fanu's namesake novella. Owing to the subtle cultural equation of blood and semen （Hughes 241） ，　the vampire denotes seduction and eroticism.　　Yet for the female vampire， the gender connotation is reversed.　She is inhuman because she is aggressive in sex hinted by her drawing blood from her victims. She is thus a monster and has to be eliminated. For the vampire， however， killing is the only way for her to survive. To solve this deadly dilemma， and to disperse the （male） writer's anxiety about the female's aggressive sexuality， she must die. It is not surprising that female vampires like Lucy and Camilla are destroyed while Dracula， the most famous male vampire in Western literature， lives forever.　　……

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