破除魔咒
2009-12
中国社会科学出版社
穆杨
294
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《破除魔咒：安吉拉·卡特童话反写作品中的身体与主体》试用福柯的身体与主体，权力与抵抗理论阐释卡特童话反写作品的主题，从而重新审视这些作品的女性主义价值。本论文的中心观点是卡特的反写是以身体为视角，以主体探求为目的的双重结构：一方面揭示了经典文本中父权通过规训、惩罚、自我监视等身体手段塑造驯顺女性主体的过程；另一方面通过对叛逆女性的积极描写为女性在现有权力关系中通过身体寻求主体性提供可能。《破除魔咒：安吉拉·卡特童话反写作品中的身体与主体》还将用福柯任何抵抗都只能来源于权力内部的观点解释卡特作品中存在的含混，并得出结论——卡特的童话反写从总体来说是女性作家在话语领域对以父权为主导的权力关系的抵抗。
穆杨，女，回族，1974年12月出生于辽宁省沈阳市。2007年6月毕业于北京外国语大学英语学院获文学博士学位。现任教于北京语言大学外国语学院英语系，讲师职称。目前主要从事20世纪西方文学批评理论、英美小说等方面的研究，尤其侧重后现代主义、女性主义、新历史主义等理论与英美现当代小说批评实践的结合。课题《当代英美女性作家童话改写研究》获2008年度教育部人文社会科学基金青年项目立项。
AcknowledgementsAbstractIntroductionChapter One From Body to Subject in the Rewriting of the Fairy TaleI. RewritingA. Rewriting and IntertextualityB. Postmodernist Pastiche vs. Postmodernist ParodyC. Modernist Parody vs. Postmodernist ParodyD. Carter's Rewriting——a Postmodernist ParodyII. The Fairy TaleA. Carter's Inclusive Definition of the Fairy TaleB. Fairy Tale as a Multi-layered DiscourseC. Carter's Fairy Tale——a Feminist DiscourseIII. SubjectA. Definition of SubjectB. Definition of the Female SubjectC. Postmodernist Debates on SubjectIV. BodyA. Body in the Western Metaphysical TraditionB. Michelle Foucault: Body as the Site of Power and ResistanceC. Feminist Appropriations of Foucault's TheoryChapter Two Disrupting the Submissive Female Subject: Body as the Site of PowerI. Objectified and Fetishized BodyA. The Objectified Body under "the Eye of Power" in "The Snow Child"B. The Cinematic Fetishization of the Body in The Passion of New EveII. Imprisoned BodyA. Carter's Sleeping-Beauty StoriesIII. Disciplined and Exploited BodyA. The Magic ToyshopIV. Violated and Afflicted BodyA. Sadism in "The Bloody Chamber"B. Rape in "Leda and the Swan"V. "Gender Trouble"A. The Transformations of Evelyn and Tristessa in The Passion of New EveChapter Three Reconstructing a More Autonomous Female Subject: Body as the Site of ResistanceI. Alternative Body against the Patriarchal AestheticsA. Nights at the CircusII. Violence and Murder as ResistanceA. Lizzie Borden's Parricide in "Fall River Axe Murders"B. Doll's Revenge in "The Loves of Lady Purple"III. Self. commodification as ResistanceA. Self-commodification in "The Courtship of Mr Lyon" and "The Tiger's Bride"B. Seller and Commodity in One in "Black Venus"IV. Autonomous Female DesireA. "The Company of Wolves"V. Maternal Body in PowerA. Mother Goddess in the Passion of New EveConclusionAppendix: Source Texts for Carter's Revised TextsWorks Cited
版权页：took her viscera in a stern hand and squeezed them very tightly" （ "Axe Murders" 71） is a more obvious cultural symbol. Designed for waspwaist, the prevailing of the corset is not simply an aesthetic issue. For Bordo, The tight corset indicates self-restraintand control as "an ever present monitor"（162）. In a corset, awoman can barely sit or stoop, unable to move her feet more thansix inches at a time, and suffering from regular fainting fits. Andthe nineteenth-century hourglass figure represents a domestic,sexualized ideal of femininity, rendering the female body unfit toperform activities outside the domestic range（181） . Either tomonitor or to repress the female body, power aims to render ituseful. In any patriarchal culture, the useful female body mustfirst of all be obedient. Victorian culture makes a set of rules andregulations of dressing to train, shape and subjugate a femalesubject. For Carter, all garments are open to interpretation. She maintains that the nature of apparel is very complex. Clothes areso many things at once. Our dress in fact expresses ourenvironment and it does so almost at 6'a subliminal, emotionallycharged, instinctual, nonintellectual level"（ "Sixties Style" 85） .Clothes, as the external part of the body, communicate between the subject and the social environment. Lizzie's heavy and tight clothes reflect the environment r power relations she is in.
《破除魔咒:安吉拉•卡特童话反写作品中的身体与主体(英文版)》由中国社会科学出版社出版。
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