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近年来,批评家经常从生态女权主义批评的视角解读萨拉·奥恩·朱厄特的小说,尤其是其短篇小说代表作《白苍鹭》,认为小说中所展示的乡村与城市、田园与工业、女性与男性之间的对立主题使它成为一篇理想的生态女权主义作品。然而通过对《白苍鹭》以及作家其他小说从作家暧昧的语言叙述策略、人物社会性别角色的互换以及大自然中动植物的象征意义三个方面进行分析,我们发现朱厄特小说中蕴含的城市和乡村、自然与人类以及女性和男性个体差异之间是相互依赖、彼此相融而存的关系,与当代生态女权主义所强调的联系性的观点相暗合,远远超出了20世纪七八十年代生态女权主义的本质主义狭隘性。
In recent years, critics often interpret Sarah Orne Juett’s novels from the perspective of ecofeminist criticism, especially his “White Heron”, a short story masterpiece, in which the villages and cities, The oppositional theme between industry, women and men makes it an ideal ecofeminist work. However, by analyzing the “White Heron” and other writers ’novels from the ambiguous linguistic narration strategies of writers, the interchange of characters’ gender roles and the symbolic meaning of flora and fauna in nature, we find that there is Of urban and rural areas, the interdependence between nature and human beings and the individual differences between females and males, and their interdependence with each other are in harmony with the conceptions of connections emphasized by contemporary ecological feminism far beyond the limits of the 20th century The Narrow Nature of Ecofeminism in the 1980s.