《我的名字叫红》中的女性隔离与艾斯特的超越隔离  

Woman's Segregation in My Name Is Red and the Transcendence of Esther

作　　者：高华[1,2] GAO Hua(Nankai University,Tianjin,China,300071;Shandong University of Science and Technology, Qingdao,Shandong,China,266590)

机构地区：[1]南开大学,天津300071 [2]山东科技大学,山东青岛266590

出　　处：《广东开放大学学报》2018年第6期49-54,共6页JOURNAL OF GUANGDONG OPEN UNIVERSITY

基　　金：2016年度青岛市社科规划研究项目"帕慕克小说中的女性形象研究"(QDSKL1601123)的阶段性成果

摘　　要：土耳其的奥斯曼帝国时代对女性实行了严格的隔离制度。帕慕克小说《我的名字叫红》中描述了发生在上层贵族妇女身上的"服饰隔离"、"家庭建筑的空间隔离"、"教育隔离"等现象,同时,帕慕克又塑造了一个自由的犹太女商人艾斯特形象。这一形象不仅不受隔离制度的束缚,而且成为连接各个"隔离"区域的桥梁,而从隐喻的意义层面上说,艾斯特也是帕慕克为土耳其寻求现实困境的拯救性符号。帕慕克最基本的关注点在"人",因此他赋予了艾斯特最质朴的人文关怀,作为隔离空间中的"媒介",艾斯特给被隔离的各方带来了平等交流的可能,这正是后现代语境下艾斯特的意义所在。In the era of the Osman empire of Turkey, a strict segregation system was imposed on women. In Pamuk’s novel My Name is Red, it describes the phenomena of "clothing segregation", "space segregation of family buildings" and "education segregation" with the upper noble women. At the same time, Pamuk portrays the image of Esther, a free Jewish businesswoman. She is not only free from the bondage of the segregation system, but also serves as a bridge connecting the "isolation" regions. In the metaphorical sense, Esther is also Pamuk’s salvation symbol for Turkey’s realistic predicament. Pamuk’s most basic concern is "human", so he endows Esther with the most simple humanistic care. As the "medium" in the isolation space, Esther brought out the possibility of equal communication with the isolated parties, which is the significance of Esther in the post-modern context.

关 键 词：艾斯特 隔离制度 空间 权力 文化杂合 

分 类 号：I106.4[文学—世界文学]