从接受美学解读《简·爱》中疯女人形象的嬗变  

Research on the Mad Woman in JANE EYRE Viewed from the Perspective of Reception Theory

作　　者：黄泽英[1] 刘雨琪[1] 

机构地区：[1]湘南学院大学英语部,湖南郴州423000

出　　处：《湖南科技学院学报》2011年第7期46-48,共3页Journal of Hunan University of Science and Engineering

基　　金：湘南学院青年课题"<简.爱>中疯女人伯莎.梅森形象研究"(项目编号07Y021)

摘　　要：《简·爱》出版一个多世纪之后,伯莎.梅森在读者心中的形象发生了嬗变:疯女人形象蜕变为男权文化压制和迫害的女性代表和最有力的反抗者。文章试从接受美学角度解释这一现象:读者因受期待视野中历史及个人视界等因素的影响对伯莎产生了偏见,视之为疯女人;而随着女权主义运动的发展,读者的期待视野冲破了传统和历史的束缚,对伯莎有了新的认知能力并对其重新解读。The image of the mad woman in the readers＇ mind of JANE EYRE has been changed since it was published in 1847.This paper explores the phenomenon from the Perspective of Reception Theory and points out that readers regarded her as a mad one with prejudice for the influence of history and individual factors in their horizon of expectation, and that they have a brand new attitude and knowledge on her with the development of feminist movement for the change in their horizon of expectation.

关 键 词：接受美学 《简·爱》 疯女人形象 偏见 女权主义运动 接受 

分 类 号：I106[文学—世界文学]