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《芦花公鸡》[1]是关于两性处境的隐喻文本,可以被看作是麦买提明·吾守尔认识性别历史与现实的象征性逻辑框架。在《燃烧的河流》一书中,作者无论是把女性放置在叙事的中心,还是让她们退居为影像,都或隐或显地暴露了女性符号化的存在事实;对男性的书写则是多样态的,他们是富有较大“弹性”和生命力的主体形象。一方面,可以看到由民族文化传统积淀并延续而来的男主女次的性别权力关系在当代并未发生根本性的变化;另一方面,还可以看到,即使麦买提明·吾守尔这样富有思想力和批判力的民族精英,在涉及性别问题时,也难逃二元对立的思维框架,表现出逻各斯中心的男性优越感。
“Aloe rooster” [1] is a metaphorical text on the situation of both sexes and can be seen as the symbolic logical framework for Medellin’s understanding of gender history and reality. In The Burning River, the author exposes the existence of female symbolism both in the center of the narrative and in the images of the women In a variety of forms, they are the mainstay of a larger, “flexible” and viable life. On the one hand, it can be seen that the gender power relationship between male and female female followers, inherited and inherited from the national cultural tradition, has not undergone a fundamental change in the contemporary era; on the other hand, it can be seen that even though Mai Mai Ming Wu Wu When such a thoughtful and critical national elite held a position in relation to gender issues, it also could not escape the framework of dualistic opposition and showed the male superiority in the logocentric center.