摘要
埃莱娜·西苏的"女性书写"理论在20世纪极具影响力,具有"诗思合一"的特质。将隐喻思维置入理论文本是"西苏特色"中的一个亮点,声音/音乐隐喻的运用是其阐述并实践"女性书写"理论的重要工具之一。西苏用声音/音乐隐喻阐释"女性书写"的原因在于,二者都具有开放性,都是对"真"的探索。她对声音/音乐隐喻的运用大致可以分为激进的政治性、平和的文学性和音乐般的诗性三个阶段,标示着"女性书写"理论由政治性向诗性的转向。
Cixous has sought a poetic and philosophical intimacy with the help of sound/music metaphor which has undergone three phases, specifically, radical politicization, peaceful literariness and musical poetics, in delineating and practicing her criture Feminine-the poetic writing of sexual difference. The reason for Cixous' correlating criture Feminine with sound/music lies in the assumptions that both are exploring 'truth' and presenting the quality of openness. Meanwhile, the change of Cixous' insights into sound/music metaphor marks a turn of criture Feminine from politics to poetics.
出处
《外国文学》
CSSCI
北大核心
2010年第5期130-135,共6页
Foreign Literature
