摘要
蘩漪和曹七巧两位“疯女人”在中国文学史上的不同遭遇是一个具有普遍意义的个案,它昭示了以男性为主体的中国社会对女性角色的期待和认知,透露了现代文学史建构中存在的男权话语,表明了自我社会性别的建立与认同的过程,也是一个权力运作的过程。蘩漪是男性自我的他者,曹七巧是女性自我的替身。
Fanyi and Cao Qiqiao, being two ＂madwomen＂ but having different experience in Chinese modem literary history is a typical case. First, it declares the expectation and cognition of male-dominated Chinese society towards women＇s role. Second, it hints at the existence of male-dominated discourse in Chinese modem literary history. Third, it indicates that the process of building and identifying social genders is meanwhile one of practicing power. Fanyi belongs to the others as against men＇s selves while Cao Qiqiao is a mouthpiece of women＇s selves.
出处
《理论界》
2006年第1期183-184,共2页
Theory Horizon
关键词
文学叙事
社会性别
疯女人
他者
自我
literary narrative
social gender
madwoman
the others
the selves
