论消费文化语境下嘉莉妹妹的自我求索

发布时间：2018-06-22 09:21

本文选题：消费文化 + 欲望动力　；参考：《厦门大学》2013年硕士论文

【摘要】：西奥多·德莱塞被认为是二十世纪初美国最具原创性的小说家之一。作为一个世纪之交的作家,他感受到了社会的巨大变化：工业化和城镇化的快速发展；传统道德和正在出现的具有现代倾向的消费文化新思潮之间的激烈冲突。在他的作品里,他关注当时社会的各种问题,尤其是人们对财富的盲目追求。他把巴尔扎克式的具有现实主义特征的人物置于斯宾塞式的机械主义背景之中。这些人受欲望的驱使,“做着荣耀之梦,结果可能醒来发觉自己什么都不是”。德莱塞通过这种方式开创了他自己的风格,这种风格后来被称为美国式自然主义或德莱塞式的现实主义,具有悲观主义的特点。《嘉莉妹妹》是德莱塞的第一部小说,但是出版之后并没有被广泛接受。因为他所描写的乡村女孩嘉莉通过与男人的不正当关系以求得幸福,这种事并不被当时的社会伦理所接纳。但随着时间的推移,小说引起的关注度越来越大。人们开始聚焦于他的思想和作品与当时作为都市社会和消费经济的美国出现的大范围的社会和文化问题之间的关系。这些问题仍然困扰着今天的美国。人们力图考证《嘉莉妹妹》中重要的浓厚文化气息中心,这些文化中心构成了小说与当时历史的潜在联系。德莱塞的作品尤其富于对19世纪后期的美国作为一个大都市在社会思潮方面的描写。本文试着从消费文化的视觉来探讨《嘉莉妹妹》。把当时消费文化的特点与嘉莉的个性特征相连接,以更加开明和乐观的态度看待消费文化对嘉莉的成长和自我实现所带来的影响。消费文化从一开始就建立在富裕商品的基础之上,并且鼓动消费。充足的商品供给和诱人的广告激起消费者无尽的欲望。消费目的不再仅仅是为了消费者个人和社会的实际需求,还在于满足消费者的情感愉悦。消费者的消费包含了商品的实用价值和象征符号。身份认同通过人们所占物品和所能购买的服务来定义,因为商品具有了符号价值,物质被赋予了实用价值之外的象征意义。受消费文化的影响,嘉莉作为一个乡村女孩无法抵御繁华的城市带来的诱惑。她试图通过追求更好的穿着打扮、优雅的行为举止和寻找一份与身份相匹配的工作来认证自己作为一个中产阶级城市女孩的身份。这些欲望不断驱使她向前。从这个角度看,消费文化催生欲望,而欲望对嘉利莉来说是行动的动力。另外,消费社会注重娱乐,电影业得到蓬勃发展。受消费文化思潮的影响,嘉莉的欲望远远超越她的能力所及。她不属于那种勤俭节约的传统女性；她属于新女性,敢于追求快乐和自己所喜欢的东西。上电影院看电影是她一直所感兴趣的事。在芝加哥一次业余表演上获得的意外成功开启了嘉利的舞台之梦,而赫斯特伍德的生意失败再次把嘉莉推上了演艺舞台。她的美貌,她对电影持久的兴趣,她的努力和付出以及作为新女性的独立意识连同当时在娱乐业的大众消费潮,所有这些成就了她作为一名女演员的最后成功。但是嘉莉并不幸福,因为她所渴求的并不是芝加哥或纽约,不是德鲁特或赫斯特伍德,不是人间的时尚或舞台,而是这一切所代表的,所有那些肤浅的东西：世俗成功、舒适安逸、宁静平和。当嘉利获得这一切时,尽管它们所代表的的世界不再对她有诱惑力,她内心的焦虑却仍旧困惑着她。她的财富,声望和地位并不能满足她内心的干渴。孤独困扰着她。小说的最后,年轻的德莱塞试图从进化论中找到答案,希望有一天嘉莉那种自由、不受约束的愿望能够得到理性而不是狂野欲望的引导。
[Abstract]:Theodore Dreiser was regarded as one of the most original novelists in the early twentieth Century. As a writer at the turn of the century, he felt the great changes in society: the rapid development of industrialization and urbanization; the fierce conflict between traditional morality and the emerging trend of modern tendency to eliminate fees. In his work, he pays attention to all kinds of social problems, especially the blind pursuit of wealth. He puts Balzac's realistic characters in the Spencer - style mechanistic context. These people are driven by desire, "a dream of glory, and the fruit may wake up to find nothing". The style created his own style in this way, which was later called American naturalism or Dreiser's realism, characterized by pessimism.
< Sister Carrie > is Dreiser's first novel, but it has not been widely accepted since the publication, because the rural girl Carrie described by him seeks happiness through the unlawful relationship with men. This is not accepted by the social ethics of the time. But as time goes on, the attention of the novel is becoming more and more important. The relationship between his ideas and his works and the large social and cultural problems that appeared in the United States as urban society and the consumer economy still plagued the United States today. People are trying to examine the important cultural center of Sister Carrie, which constitute the novel and the history of the time. Dreiser's work is particularly rich in the description of social trends in the late nineteenth Century as a metropolis in the United States.
This paper tries to explore "Sister Carrie" from the visual of consumer culture. It connects the characteristics of the consumption culture with the personality of Carrie, and looks at the influence of consumer culture on the growth and self realization of Carrie in a more enlightened and optimistic manner.
Consumer culture has been built on the basis of rich goods from the beginning, and invigurate consumption. Sufficient commodity supply and attractive advertising arouse the endless desire of consumers. The purpose of consumption is not only for the actual needs of the consumer and the society, but also to satisfy the emotional pleasure of the consumer. The consumer's consumption includes the goods. The practical value and symbol. Identity is defined by the things that people occupy and the services they can buy, because the commodity has the symbolic value, and the material is given the symbolic meaning other than the practical value.
As a country girl, Carrie is unable to resist the temptation of a prosperous city as a country girl. She tries to authenticate herself as a middle class city girl by pursuing better dress, graceful behavior and finding a job that matches her identity. From this perspective, consumer culture stimulates desire, and desire is the driving force for Jiali lily.
In addition, the film industry is booming in the consumer society. Influenced by the consumer culture, Carrie's desire goes far beyond her ability. She does not belong to the traditional and thrifty traditional woman; she belongs to the new woman, she dares to pursue happiness and his favorite East West. The unexpected success of an amateur performance in Chicago opened the dream of Carrie's stage, and Hester Wood's business failed to put carrie on the stage again. Her beauty, her lasting interest in the film, her efforts and efforts, and the independence of the new women, together with the popular consumption tide in the entertainment industry. All these achievements made her the ultimate success as an actress.
But Carrie was not happy, for what she longed for was not Chicago or New York, not the trate or Hearst Wood, not the fashion or the stage of the human world, but all these things, all those superficial things: worldly success, comfort, peace and peace. When Carrie got all this, despite the world they represented No more tempting her, her inner anxiety still puzzled her. Her wealth, prestige and status did not satisfy her thirst. Loneliness perplexed her. At the end of the novel, the young Dreiser tried to find the answer from the theory of evolution, hoping that one day Carrie's freedom, unrestrained desire, could be rational rather than crazy. The guidance of wild desires.
【学位授予单位】：厦门大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I712.074

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