伯莎·梅森与“我”:“疯女人”的悲剧背后——试比较研究《简·爱》与《黄色墙纸》

Betha Mason and "Me": The Essence of "Madwomen"

运用福科权利话语理论并结合巴赫金的对话理论分析比较《简.爱》与《黄色墙纸》,解读作品中“疯女人”疯癫的现实意义。《简.爱》中“疯女人”伯莎.梅森是帮助简.爱实施其内心隐秘愿望的替身,《黄色墙纸》中疯癫的“我”从幕后走到了台前,以女主人公的身份直接反抗男权统治。“疯女人”形象的塑造表现了女作家们对处于男权中心话语中女性悲惨处境的初步认识,探索了在这个“他者”社会中女性的自我主体意识,遗憾的是她们始终没有突破男性自我的“他者”界定,她们的女性意识也是被迫建构在主体的机构之中,已经变成了文化经验的一个内在部分。但是“疯女人”小说毕竟为寻找女性自己的精神家园做了努力,也为后来者们指出了一条逃逸权威话语模式的有效途径。

Foucault＇s power words theory, comment from feminism and Bekhting ＂dialogic＂ theory are applied to the reading of Jane Eyre and Yellow Wall - paper and the analysis of the realistic signitqcance of the essence of ＂Madwomen＂. ＂Madwomen＂ Betha Mason in Jane Eyre is an understudy of Jane Eyre to help Jane to realize her inner desires. The ＂madwoman＂ - ＂me＂ in Yellow Wall - paper is the female protagonist who revolts against the control of male power. The portraying of ＂madwomen＂ means the female writers who are in the 19th century realize womeng miserable situation, and probe into womeng selves in ＂the other＂ seciety. But all the female protagonists in both Jane Eyre and Yellow Wall - paper belongs to ＂the other＂ as against men＇s selves, and their womeng consciousness is forced to be constructed in the intersubjective organization and has become an inner part of cultural experience. In one word, ＂the madwomen＂ novels have tried their best to pursue their spiritual home, and provided an effective way to escape from the power words model for the following female writers.