“荆棘冠”与“荆棘鸟”:解读伯莎·梅森与安托瓦内特的疯癫形象  

“The Crown of Thorns”and“The Thorn Bird”:Interpreting the Madness Images of Bertha Mason and Antoinette

作　　者：拾雪 吕佩爱[1] SHI Xue;LYU Peiai(School of Foreign Languages,Tongji University,Shanghai 200092,China)

机构地区：[1]同济大学外国语学院,上海200092

出　　处：《浙江外国语学院学报》2021年第5期102-109,共8页Journal of Zhejiang International Studies University

摘　　要：《简·爱》中的伯莎·梅森和《藻海无边》中的安托瓦内特两个女性人物均因疯癫引起学界关注。本文通过对二者疯癫形象的分析及其背后异同的阐发,探讨其疯癫形象在社会权力话语、精神病理学研究、作者创作意图方面展现出的差异,以阐释夏洛蒂·勃朗特和简·里斯对所处时代的顺从与反叛、殖民主义话语和反殖民主义旗帜的对抗、个人情感的报复与抒发。本文还展现出英国女性在不同历史阶段所遭受的不公及她们的反抗意识,有助于拓宽女性主义研究视域。The madness of Bertha Mason in Jane Eyre and Antoinette in Wide Sargasso Sea have gained widespread concern in the academic world.By means of analyzing their madness images,this paper attempts to explore their differences in terms of social power discourse,psychopathological research,and authors’creative intentions.It further elucidates Charlotte Bront and Jean Rhys’obedience to and rebellion against the historical background,confrontation between colonial and anti-colonial discourse,revenge of personal involvement.The paper also shows the injustices suffered by British women in different historical stages and their resistant consciousness,which contributes to broadening the research horizon of feminism.

关 键 词：《简·爱》 《藻海无边》 女性疯癫形象 道德疯癫 局部疯癫 

分 类 号：I561.074[文学—其他各国文学]