女性原则还是阴性原则?——从中华文化的角度评约翰·福尔斯《魔法师》的阴性特征  

Female Principle or Yin Principle?——Also on John Fowles’ Effeminate Style From the Perspective of Ancient Chinese Culture

作　　者：潘家云[1] 

机构地区：[1]宁波大学科技学院,浙江宁波315211

出　　处：《宁波大学学报（人文科学版）》2013年第2期17-22,共6页Journal of Ningbo University：Liberal Arts Edition

基　　金：2012年浙江省哲学社会科学课题(12JCWW10YB)

摘　　要：从中华文化的角度看,英国作家约翰·福尔斯的作品在物理属性、人格特质、文化观念和哲学属性等多个侧面上,弥漫着一股怪异的阴郁之气。小说物理场景封闭、阳光晦暗;象征物为阴部、蝴蝶标本、骷髅等死气沉沉之物;女性被动、从属、虚幻、客体化;男叙事者则性格分裂、阴柔无刚,创意耗竭;男性导师则阴阳怪气,诡异难测。作者本欲在封闭空间里设计出一套心理游戏,以假面游戏来发现叙事者的投射出深层心理问题,但由于自己过于专注于世界的阴柔内蕴的一面,而忽略了阳刚外显的一面,所以在不知不觉中,使作品笼罩在乏光、乏力、乏情、乏爱、不阳光、不阳刚、不充盈、不豪迈的浓重的阴气里。If explored from traditional Chinese culture, British writer John Fowles＇ works are infused with a weird effeminate and gloomy atmosphere. Their settings are sunless and shaded, closed and fantastic domaines, the recurring symbols are vagina and fossils, skull, dried butterfly specimen; the female characters are passive, subordinate, fantastic and objectified; male narrators suffer a characterological fracture, weakness and a deficiency in creativity and productivity; Male tutors are freakish and elusive. Although the author had wished to design a psychological game in a closed domaine to mirror the deep-seated problems of the narrators, however, he unwittingly infuses his works densely with a weirdly withdrawn ambience of deficiency in light, caring, love, masculinity and power.

关 键 词：《魔法师》 女性原则 阴性原则 世界观 阴郁 

分 类 号：I106.4[文学—世界文学]