压迫与反抗：库切小说《内陆深处》的女性主义解读

发布时间：2018-06-17 12:41

本文选题：《内陆深处》 + 女性主义　；参考：《扬州大学》2014年硕士论文

【摘要】：约翰·马克斯韦尔·库切是继纳丁·戈迪默之后第二位获得诺贝尔文学奖殊荣的南非作家。他以简洁含蓄的行文方式和风格多变的创作手法著称。在其作品中,边缘群体不仅是他关注的焦点,而且人在困境中的自我拯救更是他所希冀表现的重点。小说《内陆深处》就是这样一部作品,它是库切发表的第二部作品。该部作品被置于日记体这一特殊的文本框架下,由一位女性采用一种亦幻亦实的方式讲述,痛苦地再现了在后殖民背景下,女性被拒斥的人生,同时表现了其驯服的外表下不甘沦为历史弃儿的幻想和抗争。小说主要讲述了南非种族隔离时期生活在内陆深处的白人老处女玛格达在父权制压迫下的生活状态。一方面她渴望得到父亲的关爱,异性的爱慕,并成为一个完整的女人；另一面又痛恨父亲的残酷,仆人的无情,在幻想中极力要挣脱自己孤独的生活窘况。于是,她竭力控诉并在想象中实施了报复行为。在第二次弑父成功后,玛格达力求与黑仆亨德里克以及黑女仆克莱恩·安娜形成一种平等的关系,但殖民主义由来已久的压迫,使得黑、白两色人种之间的仇恨根深蒂固,并朝着相反的方向恶化。最终,玛格达的希望落空,被遗留在内陆深处这座孤寂的农场里。本文拟从女性主义相关理论出发,结合日记体小说的特点,以玛格达、玛格达的母亲、克莱恩·安娜为切入点,探讨边缘女性在父权制家庭和白人中心主义社会体制中所遭受的压迫。同时借助福柯有关话语与权力的理论,结合西苏的“女性书写”,分析日记体小说形式在帮助女性争夺话语权,言说女性自身体验,从而实现反抗父权制压迫方面的作用。最后探讨了库切如何通过建构女性形象,解构男性形象从而实现颠覆父权制和殖民主义。论文主体部分包括三章：第一章从玛格达的母亲、玛格达和克莱恩·安娜三个主要女性人物出发,以三组二元对立关系为基本框架,探索女性在父权制家庭中的“他者”地位。玛格达的母亲是丈夫权威的服从者和牺牲者；玛格达是父亲权威的受害者但却酝酿着反抗的细胞；克莱恩·安娜则是多重压迫下的“他者”。她不但遭受着来自男性的压迫,同时还肩负着来自女性优越群体的压迫,因此可以称得上是“他者”中的“他者”。第二章从日记体小说这一特殊体裁出发,首先分析了第一人称叙述在争取女性话语权,掌握主体权力方面发挥的作用；其次,从日记体内心独白所具有的真实、封闭等特点入手,分析其对于增加文本可靠性,从而达到真实地进行自我言说的目的的优势；最后从日记这一具体文本出发,分析日记写作如何为女性提供了一种言说自身体验的写作途径,从而使女性回归到了文学的中心,权力的中心。第三章主要探讨了库切小说中人物形象的解构和建构。一方面库切通过使其笔下的男性人物弱势化,失声化和无名化的方式,从而达到颠覆父权制和殖民帝国的目的；另一方面通过塑造积极向上的新女性形象而使女性从边缘位置回归到了中心。总之,通过分析库切小说中的人物形象及写作技巧,我们可以了解到库切对边缘人群,尤其是对女性这一群体的关注,以及他高超的写作手法。
[Abstract]:John Maxwell Kuche is the second South African writer who has won the Nobel prize for literature after Nadine Gordimer. He is famous for his concise and implicit style of writing and the changeable style of creative writing. In his works, the marginal group is not only the focus of his attention, but also the self salvation of man in the predicament. The novel < inland depth > is such a work, which is the second work published by Coetzee. Under the special text frame of the diary, the work is described by a woman in an illusory and real way, which painfully reproduces the rejected life of the female in the postcolonial background, while showing his taming. The appearance of clothes is unwilling to become the illusion and struggle of historical abandoned children.
The novel mainly tells the state of the white maiden Magda, a white maiden living in the south of South Africa, under patriarchal oppression. On the one hand, she longs for the love of her father, the love of the opposite sex, and a complete woman; on the other hand, she hates his father's cool, the servant's merciless, and in the illusion that she is trying to break free. In her lonely life, she tried to accuse and envision revenge. After the second killing of her father, Magda sought to form an equal relationship with the black servant Hendrik and the black maid Klein Anna, but the long-standing oppression of colonialism made the hatred deeply rooted between the black, the white and the two colors. In the opposite direction, Magda's hopes were lost and left in the lonely farm deep in the interior.
This paper, starting from the theory of feminism and combining the characteristics of the diary novel, explores the oppression of the marginalized women in the patriarchal family and the white central social system with Magda, Magda's mother and Klein Anna as the breakthrough point. At the same time, with the help of Foucault's theory of discourse and power, it combines the "female" of the Western Soviet Union. "Sexual writing", the analysis of the form of diary style novels in helping women to fight for the right to speak, to speak of women's own experience, and thus to resist the oppression of patriarchy. Finally, it is discussed how Coetzee has constructed the image of women and deconstructed the male image so as to subvert the patriarchy and colonialism.
The main part of the thesis consists of three chapters.
The first chapter, starting from the three main female characters of Magda's mother, Magda and Klein Anna, explores the "other" status of women in patriarchal families with the basic framework of three groups of two yuan antagonism. Magda's mother is the obedient and victim of her husband's authority; Magda is the victim of father's authority but is brewed. With the cell of resistance; Klein Anna is the "other" under multiple oppression. She not only suffers from the oppression from the male, but also bears the oppression from the superior group of women, so it can be called "the other" in the "other".
The second chapter, starting with the special genre of diary style novels, first analyzes the role of the first person narration in striving for women's right of discourse and mastering the power of the subject. Secondly, starting with the characteristics of the truth and closure of the diary's heart monologue, it analyses its reliability of increasing the text, thus achieving a true self speech. In the end, the author analyses how diary writing provides a way for women to write their own experience, which makes women return to the center of literature and the center of power.
The third chapter mainly discusses the deconstruction and construction of the characters in Coetzee's novels. On the one hand, Coetzee can subvert the patriarchy and the colonial empire by making the male characters disadvantaged, disadvantaged and infamous. On the other hand, by shaping the positive image of the new women, the women will return from the edge position. It's in the center.
In a word, by analyzing the characters and writing skills in Coetzee's novels, we can understand that Coetzee's attention to the fringe group, especially the group of women, and his high writing skills.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：I478.074

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