Different from the classic“Red Riding Hood”story,the girl in The Company of Wolves gives us a new image of how a woman is like in a patriarchal society.Carter’s portrayal of this girl withdraws from gender roles an...Different from the classic“Red Riding Hood”story,the girl in The Company of Wolves gives us a new image of how a woman is like in a patriarchal society.Carter’s portrayal of this girl withdraws from gender roles and cultural impressions in traditional works of literature and puts forward new ideas of sexuality,empowerment of women,and virginity.This essay intends to discuss that on the one hand,women can use their bodies as weapons against imbalanced power.On the other hand,Carter describes women’s desire for sex and love through body writing to show their awareness of sexual liberation and to break the male-dominated vision of gender and sexuality so that female gender subjectivity is rebuilt.展开更多
Historical studies on the character of Lily Bart in Edith Wharton’s The House of Mirth have predominantly revolved around psychology,sociology,and aesthetics,yet neglecting the significance and role of the body withi...Historical studies on the character of Lily Bart in Edith Wharton’s The House of Mirth have predominantly revolved around psychology,sociology,and aesthetics,yet neglecting the significance and role of the body within the narrative.Using Brooks’s concept of body writing,this paper focuses on exploring Lily’s body in three dimensions:the body of vision(self-objectification);the body of privacy(moral dilemma);and the body of modernity(overdose symbolizing the clash of science and humanity).Scrutinizing and analyzing the body writing in The House of Mirth reveal the feminist undercurrents of Lily’s character and highlight the broader and significant role of body writing in literary works.展开更多
Through a close reading of Wei Hui＇s bestseller Shanghai Baby 0999）, this article highlights five elements to delimit a post-romantic neoliberal literary sensibility and its ruptures： （1） a ＂melotraumatic＂ ques...Through a close reading of Wei Hui＇s bestseller Shanghai Baby 0999）, this article highlights five elements to delimit a post-romantic neoliberal literary sensibility and its ruptures： （1） a ＂melotraumatic＂ quest for exuberance, （2） denial of dependency, （3） a celebration of individual choice and market rationalities, （4） disillusionment and disappointment, and （5） a quest for intelligibility through narrative. Along the way I probe the narrator＇s residual romanticism as a little-addressed foundation of the novel＇s testimony to a generational sensibility. By examining the relationship between Coco the narrator and Coco the protagonist, I contend that the narrator＇s sustained self-remembering evokes her growing unease with neoliberal values. The tension between post-romantic cynicism and residual romanticism suggests the extent to which a supposedly dissident novel may entice precisely for the ways its deep structure reinforces dominant discourses. Whereas Coco the protagonist follows a logic of consumerism, Coco the narrator gestures to non-commercial values--loyalty, care, empathy, trust, and solidarity. Appreciating the novel＇s residual romanticism alongside its post-romantic cynicism sheds new light on the story, its context, ambiguous feminism, and reception.展开更多
文摘Different from the classic“Red Riding Hood”story,the girl in The Company of Wolves gives us a new image of how a woman is like in a patriarchal society.Carter’s portrayal of this girl withdraws from gender roles and cultural impressions in traditional works of literature and puts forward new ideas of sexuality,empowerment of women,and virginity.This essay intends to discuss that on the one hand,women can use their bodies as weapons against imbalanced power.On the other hand,Carter describes women’s desire for sex and love through body writing to show their awareness of sexual liberation and to break the male-dominated vision of gender and sexuality so that female gender subjectivity is rebuilt.
文摘Historical studies on the character of Lily Bart in Edith Wharton’s The House of Mirth have predominantly revolved around psychology,sociology,and aesthetics,yet neglecting the significance and role of the body within the narrative.Using Brooks’s concept of body writing,this paper focuses on exploring Lily’s body in three dimensions:the body of vision(self-objectification);the body of privacy(moral dilemma);and the body of modernity(overdose symbolizing the clash of science and humanity).Scrutinizing and analyzing the body writing in The House of Mirth reveal the feminist undercurrents of Lily’s character and highlight the broader and significant role of body writing in literary works.
文摘Through a close reading of Wei Hui＇s bestseller Shanghai Baby 0999）, this article highlights five elements to delimit a post-romantic neoliberal literary sensibility and its ruptures： （1） a ＂melotraumatic＂ quest for exuberance, （2） denial of dependency, （3） a celebration of individual choice and market rationalities, （4） disillusionment and disappointment, and （5） a quest for intelligibility through narrative. Along the way I probe the narrator＇s residual romanticism as a little-addressed foundation of the novel＇s testimony to a generational sensibility. By examining the relationship between Coco the narrator and Coco the protagonist, I contend that the narrator＇s sustained self-remembering evokes her growing unease with neoliberal values. The tension between post-romantic cynicism and residual romanticism suggests the extent to which a supposedly dissident novel may entice precisely for the ways its deep structure reinforces dominant discourses. Whereas Coco the protagonist follows a logic of consumerism, Coco the narrator gestures to non-commercial values--loyalty, care, empathy, trust, and solidarity. Appreciating the novel＇s residual romanticism alongside its post-romantic cynicism sheds new light on the story, its context, ambiguous feminism, and reception.
