女性疯癫的建构——以《简·爱》、《藻海无边》和《黄墙纸》为例

On the Construction of Female Madness Exemplified by Jane Eyre, Wide Sargasso Sea and The Yellow Wallpaper

自吉尔伯特和古芭的《阁楼上的疯女人》问世以来,文学中的女性疯癫现象引起了评论界的关注,人们开始重新审视经典作品中的这一问题。疯癫不是与生俱来的精神疾病,女性疯癫亦非自然化的产物,而是特定社会文化建构的结果。疯癫的标签一旦落在女性的身上,她们从此陷入无声的黑暗之中。《简·爱》中的伯莎·梅森、《藻海无边》中的安托瓦内特和《黄墙纸》中的女主人公,三者的疯癫均是父权制在所谓"理性时代"的产物。对女性疯癫建构的探讨,旨在揭露父权制及其男性中心主义医疗体系通过建构女性疯癫达到剥夺女性话语权之目的。

Since the publication of Gilbert and Gubar＇s The Madwoman in the Attic,the phenomena of female madness in literature have aroused critics＇ attention and people have begun to reevaluate this issue in classics. Madness is not a genetic disease and female madness is not a product of nature, either,but a result of certain social and cultural construction. Once the label of madness is fallen on women,they are doomed to sink into the darkness of silence. Madness of three women,Bertha Mason in Jane Eyre,Antoinette in Wide Sargasso Sea and the heroine in The Yellow Wallpaper,is all the product of patriarchy in so-called ＂the age of reason＂. The study on the construction of female madness is intended to reveal that patriarchy and its male-centered medical system deprive women of discourse right by constructing female madness.