文体与女英雄形象审美新质研究——以《女勇士》为例  

A Study on the Innovative Aesthetic Features of Literary Style and Heroine Image——Taking The Woman Warrior as an Example

作　　者：林思丞 LIN Sicheng(Guilin University,Guilin Guangxi,541000,China)

机构地区：[1]桂林学院,广西桂林541000

出　　处：《文化创新比较研究》2022年第8期1-4,共4页Comparative Study of Cultural Innovation

基　　金：广西高校中青年教师科研基础能力提升项目“20世纪美国华裔女作家塑造的中国女性形象嬗变研究”(项目编号:2019KY0989)阶段性成果;广西教育科学“十四五”规划2021年度专项课题“广西与东盟戏曲文化教育及跨境交流的问题与对策研究”(项目编号:2021ZJY1667)阶段性成果。

摘　　要：汤亭亭的成名作《女勇士》(1976)以自传形式出版,其文体却难以定性,它兼具小说、神话、自传和回忆录等多种文体特征。汤亭亭的文体创新与20世纪文学、社会等场域息息相关,同时她颠覆并重塑了中国女英雄花木兰形象,也为无名女人赋以女英雄形象特质。在布尔迪厄的社会学理论视域下,将《女勇士》置于场域中进行研究,有利于探究文体与形象、文本与场域的关系,以及场域内权力和自主性对文本或形象的作用。Kingston’s famous work The Woman Warrior: Memoirs of a Girlhood Among Ghosts(1976) was published as an autobiography. However, it is difficult to define its literary genre because it has multiple stylistic features:novel, myth, autobiography and memoir. The innovation of Kingston’s literary genre is closely related to the fields of literary and social of the 20th century. She overturns and reshapes the image of Hua Mu Lan, a female hero in China, and also endows the no-name woman with the characteristics of heroine images. Under the perspective of Pierre Bourdieu’s sociological theory, the study of The Woman Warrior under the fields is conductive to exploring the relationship between the genre and the image, text and field, as well as the effect of power and autonomy on text or image in the field.

关 键 词：文体 《女勇士》 女英雄形象 场域 

分 类 号：G642[文化科学—高等教育学]