摘要
电影艺术一直是西尔维娅·普拉斯文学灵感的一个重要源泉。其中,希区柯克的电影艺术,特别是他对电影凝视机制的创造性运用,对普拉斯的文学书写产生了深刻的影响。与希区柯克的部分影片一样,普拉斯作品中的凝视话题不仅反映出20世纪五、六十年代美国社会的性别政治状况,也揭露了冷战政治背景下麦卡锡主义政治监视的阴暗内幕。在普拉斯的部分诗歌作品中,存在着一种以"反凝视"诗学对抗男性凝视与政治监视双重暴力的话语特征,这种诗学尝试不仅折射出普拉斯强烈的性别意识,也表达了她对他者命运的认同与关切。
Film art is an ever-springing fountain of Sylvia Plath＇s literary imagination. Hitchcock＇s films, particularly his masterful rendition of gaze, have a profound influence upon Plath＇s literary expression of the same theme. Like that in Hitchcock＇s films, the theme of gaze in Plath＇s ＇writing not only reflects the sexual politics of the American society in 1950s-1960s, but also exposes the political surveillance of McCarthyism during the Cold I..＂f..Tar. In some of her poems, Plath adopts an ＂anti-gaze＂ poetics to fight against the double violence of male voyeurism and political surveillance. Such an attempt expresses not only Plath＇s strong gender consciousness but also her great sympathy for others.
出处
《外国文学研究》
CSSCI
北大核心
2014年第1期71-79,共9页
Foreign Literature Studies
基金
中国博士后科学基金项目“西尔维娅·普拉斯与西方电影文化”【项目批号:2012M511231】的阶段性成果
