基于凝视理论视角的《抵挡太平洋的堤坝》解读

Interpretation of The Sea Wall from the Perspective of Gaze Theory

法国女作家玛格丽特•杜拉斯小说《抵挡太平洋的堤坝》在建构女性形象时,喜好通过多重凝视的视角,凸显人物个性与内心情感世界。男性视角是作者进行女性身体书写的重要切入点:男性凝视使苏珊从主动迎合到自我觉醒,实现了凝视的“双向物化”;母亲在认同男性凝视的前提下形象异化;而底层女性艾尔曼则在男性凝视的束缚下展现出矛盾性格。与此同时,苏珊既是凝视的主体,又是被人凝视的对象,这种身份的转换使苏珊不断想要逃离现有世界。而“电影院”作为重要的意象,是苏珊逃离他者凝视和感知自我欲望的重要载体。以凝视理论解读《抵挡太平洋的堤坝》,有助于更好理解作品中的女性形象,从而为读者提供阅读作品的新视角。

In the construction of female characters in the novel The Sea Wall by the French writer Marguerite Duras, the author prefers to emphasize characters’ personalities and inner emotional worlds through the perspective of multiple gazes. The male gaze serves as a crucial entry point for the author to depict female bodies: it transforms Susan from active compliance to self-awareness, achieving a “bilateral objectification” through the male gaze. The mother’s image undergoes a process of alienation within the framework of accepting the male gaze, while the working-class woman, Ailman, displays contradictory traits under the constraints of the male gaze. Simultaneously, Susan shifts between being the subject of the gaze and the object of others’ gaze, prompting her constant desire to escape the existing world. The “cinema” as a significant symbol acts as an essential medium for Susan to escape from the gaze of others and perceive her own desires. Interpreting The Sea Wall through the viewpoint of gaze theory contributes to a better understanding of the female characters in the work, offering readers a fresh perspective on reading the text.