性别·种族·空间
2009-9
东南大学出版社
吴兰香
250
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伊迪斯·华顿是19世纪末20世纪初的美国女作家，著有关于意大利、法国和摩洛哥的游记共六部。这些游记作品不仅反映出她如何看待、再现异域景物，更揭示了她如何在文化他者的衬托下定义自我的过程，其文本充分展现了华顿在强烈的逾越冲动与难以抗拒的传统力量之间经受的张力，蕴含着相当的文化复杂性。 本书在结构上分为三部分。第一章从“影响的焦虑”谈起，论述华顿在难以出新的游记领域另辟空间时既反抗又妥协的做法；第二章以自我和他者的关系为切入点分析了华顿在描述异域景物方面显露出的既靠拢又排斥，既侵入又谦服，既高傲又恐惧的复杂心态；第三章围绕性别来检视华顿的女性观及其建构游记文本的方法，并从人称指代方面考察其女性叙述策略。
吴兰香，女，江苏人，东南大学外国语学院英语系副教授，硕士生导师。曾在美丽的北方城市长春求学7年，获吉林大学外国语学院的本科及硕士学位。2003起，在南京大学外国语学院攻读英语语言文学专业博士学位，于2007年夏毕业。2008年夏赴美国耶鲁大学英语系做访问学者，在东北海滨小镇纽黑文度过了难忘的一年。主要研究兴趣为后殖民理论背景下的美国现当代游记文学以及英语文学作品中的种族、性别、科学观等话题，在《外国文学评论》、《当代外国文学》等国家级核心期刊上发表过学术论文，合译过英国作家多丽丝·莱辛2007年的作品《裂缝》。
ABSTRACT中文摘要ABBREVIATIONSIntroduction The Resurgence of Interest in Travel Writing Studies Characteristic Features of Travel Writing American Women Abroad Critical Receptions of Edith WhartonChapter One "The Beaten Track"--Edith Wharton and the Genre of Travel Writing Beyond the Anxiety of Influence The Foreground and the Background The Technical and the SentimentalChapter Two "The Vast Unknown Just Beyond"--Edith Wharton's Othering Gaze The Discursive Formulation of American Travel Writing Differentiation and Discrepancy in Wharton's Portrayal of European Landscapes An Incoherent Imperial RhetoricChapter Three "The Secret Garden"--Edith Wharton's Feminized Sphere and Defeminizing Stance Resistance against and Reconciliation with the Leisure Class Concept of Women Critical Skepticism and Textual Appropriation Gendered Authorship and Ruptured PersonaConclusionsWorks Cited
This paragraph-long quotation reveals Wharton's aesthetic approach. Instead of directing travelers' eyes to the central figures of paintings, she provides an alternative way to capture the unseen world in the distance, because, as she claims, the peripheral is the part that tells the real story. The way in which artists arrange the background sceneries betray their "conceptions of life and faith," reveal the particular idea that they have towards the world around them. In addition, the order of positioning cultural objects and the decision to include or exclude certain materials in the paintings suggest "a sophisticated ideological device that enacts systematic erasures" （Rose 87 ）. Therefore, the painting has actually become a representation of "visual ideology" （Rose 91 ）, an important critique of the artists' world.The idea of the central and the peripheral works not only with paintings, but also with the artists themselves. In her title chapter " Italian Background," Wharton picks up Tiepolo and his lesser known colleagues as an example. While Tiepolo is foregrounded by the popular travel books as a famous decorative artist, what is unnoticed is that he is also "a devotional painter. " Applying her aesthetic connoisseurship to the judgment of paintings, Wharton makes the assertion that in the light of Venetian painting "Tiepolo is seen to be the direct descendant of Titian and Veronese" （IB 207）. Extending her ideas further, Wharton moves on to other artists whose works are equally important to the study of eighteenth-century Venice.
《性别·种族·空间:伊迪斯·华顿游记作品研究》：新学识·英语语言与文学研究博士文丛。
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