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通过《狗爸爸》这一文本所凸显出来的男性看似缺席的状态进行分析,不难发现如卫慧这样的新生代女作家,在文本创作时不自觉地与男权话语自我同构,使男性人物一直保持一种高高在上的在场,不论是台前还是幕后,他们都引导着女性人物的行动。出现在卫慧的这篇作品中的男性形象或者潜在于意识中,或者以异化形象出现,并贯穿全文伴随女主人公,这反映了卫慧对于男性中心话语解构的不彻底性,作家虽然极力塑造女性主人公独立的人格特征,但她摆脱不了男权藩篱对于其潜在的影响,并最终在市场化、商业化运作的合谋中重构了这种男权屏障。本文重点从文本中的这些男性形象入手,分析卫慧如何借这些形象的塑造,一步步对她笔下的男权藩篱实现着解构与重构。
Through the analysis of the seemingly absent status of the men highlighted by the text “Dog and Dad,” it is not difficult to find that the new generation of female writers such as Wei Hui unconsciously confused with patriarchal discourse in text creation, Male characters have been maintaining a superb presence, whether before or behind the scenes, they are leading the action of female characters. The male or the potential underconsciousness appearing in Wei Hui’s works, or appeared in the alienated image, and throughout the text accompany the heroine, which reflects Wei Hui’s incompleteness in deconstructing the male center discourse. Although the author tries his best to shape However, she could not get rid of the potential influence of the patriarchal authority and finally reconstructed this patriarchal barrier in the conspiracy of marketization and commercialization. This article focuses on these male images in the text to analyze how Wei Hui borrowed these images and deconstructed and reconstructed the patriarchal power of her pen by hand.