从“无名”“无言”到“命名”“发言”——“安梅”“茹灵”女性形象的后殖民女性主义解读  

From "Aphasia" and "Namelessness" to "Utterance" and "Naming"——An interpretation of postcolonial feminism on the female images " An Mei" and " Ru Ling"

作　　者：闫毓芳[1] 

机构地区：[1]中北大学人文社会科学学院,山西太原030051

出　　处：《山西高等学校社会科学学报》2016年第6期95-98,共4页Social Sciences Journal of Universities in Shanxi

基　　金：2014年度中北大学哲学社会科学研究经费资助课题"谭恩美作品中的女性形象及性别角色分析"(2014Y013)之阶段性成果

摘　　要：女性形象是当代华裔女作家作品中的重要内容。而后殖民女性主义关注第三世界女性被父权文化和殖民主义的霸权文化双重边缘化的处境。用它解读谭恩美这位华裔女作家《喜福会》和《接骨师之女》所塑造的"安梅"和"茹灵"两位女性形象,可以突出华裔女性在双重文化压迫下抗争的主题;同时,也再现了华裔女性在两种文化夹缝中艰难生存、抗争的经历。Female image is one of the most important focuses in the literary works of contemporary Chinese-American women writers,while postcolonial feminism focuses on the situation that the third world women are double marginalized by the patriarchal culture and colonial hegemonic culture. To study The Joy Luck Club and The Bonesetter＇s Daughter from the perspective of postcolonial feminism can stress Amy Tan＇s purpose of Chinese Americans＇ resistance against the patriarchy and colonial hegemonic culture. With the theory of postcolonial feminism,this paper attempts to explore the interpretation of the two female images in The Joy Luck Club and The Bonesetter＇ s Daughter： An Mei and Ru Ling. Apart from that,the oppressions of the patriarchal and American mainstream culture,and the resistance of the between-world Chinese Americans are reflected.

关 键 词：后殖民女性主义 《喜福会》 《接骨师之女》 “安梅” “茹灵” 

分 类 号：I06[文学—文学理论]