“男神”的幻灭:《妈妈走了》中的父亲形象与女性成长  

A Case Study on the Image of Father and Growth of Female in Missing Mom

作　　者：唐丽伟 王廖坤 TANG Li-wei;WANG Liao-kun

机构地区：[1]佛山科技学院人文与教育学院,广东佛山528000 [2]湘潭大学文学与新闻学院,湖南湘潭411105

出　　处：《郑州航空工业管理学院学报（社会科学版）》2019年第2期82-89,共8页Journal of Zhengzhou University of Aeronautics(Social Science Edition)

基　　金：教育部人文社科基金资助项目(17YJC752029);湖南省社科基金资助项目(17YBA387)

摘　　要：在传统的父权制社会中,父亲是权力的象征和执行者,因此父女关系通常是二元对立的。《妈妈走了》中的父亲阿江始终处于缺位状态,从而消解了"父女"二元对立的局面。小说通过女儿尼基的追忆,把父亲作为"男神"的面纱层层揭开,一个暴躁的"大男人"形象暴露出来。在女儿"恋父、审父、弑父"的过程中,她对父亲的态度从崇拜、质疑到鄙弃,通过恋情和亲情来寻找"自我"、确认"自我"、反思"自我",逐步建立起独立的自我意识,实现了个体的成长。In a patriarchal society, father is the symbol and executor of patriarchy, therefore, the father-daughter relationship is usually dualistic. In Joyce Carol Oates’ s novel Missing Mom, the father Ajiang has passed away from the beginning of the story, so the conflict between father and daughter was avoided. In Nicky’s memory, her father was perfect as "Malegod", but the truth was revealed by the relatives and friends after her mother’s death, and than Nicky knew that her father was actually a fractious and hypocritical man. Nicky’s attitude towards her father changes from worship, question to disdain, and she began to reexamine her past life, to find her ego and to confirm herself as an independent subject. In the whole process, Nicky has established an independent sense of self and achieved her growth.

关 键 词：乔伊斯·卡罗尔·欧茨 《妈妈走了》 父亲形象 父女关系 女性成长 

分 类 号：D712.074[政治法律—政治学]