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本文考察并比较了美国黑人女性主义文学批评从发展期到成熟期,即20世纪80年代初期至90年代中期,黑人女性主义批评家对同一部作品——美国19世纪黑人女作家弗朗西斯·哈珀世纪之交的小说《伊娥拉·勒若伊》(1892)——的评价和再评价,指出这十几年间对该小说的诸种批评反映了日趋成熟的黑人女性主义文学批评的一个重要特征,即在不断的再发现和修正过程中,实现了方法上的语境化和指导原则上的动态观。黑人女性主义文学批评在这十几年间,积极进行立足于自我反思基础上的自我建构,经历了一个再思考、再评估、再界定的动态过程。这一过程中,方法上的语境化和指导原则上的动态观,以及对各种前沿理论的兼收并蓄,有力地推动着它日趋成熟,使它成长为一个独立的具有充分自主性的批评话语。
This article examines and compares the black feminist literary criticism from the developmental period to the mature one, that is, from the early 1980s to the mid-1990s, black feminist critics of the same work - the United States 19th century black woman writer Francis Harper The essay on the evaluation and reevaluation of the novel “Eela Leuy” (1892) at the turn of the century shows that the criticisms of the novel over the past decade reflect the importance of maturing black feminist literary criticism Feature, that is, in the process of continuous rediscovery and correction, realize the methodological context and guiding principles of dynamic view. In the past ten years, black feminist literary criticism has actively conducted self-construction based on self-reflection and has undergone a dynamic process of re-thinking, reassessment and redefinition. In this process, the contextualization of methodology and the dynamic view of guiding principles, as well as the eclectic integration of various cutting-edge theories, have pushed it to maturity and made it grow into an independent critical discourse with full autonomy .