“童话故事”抑或“怪诞之作”?--论流变中的小红帽形象  

"Fairy Tale"or"Grotesque Work":On the Changing Image of Little Red Riding Hood

作　　者：聂成军[1] 陈恬恬 NIE Chengjun;CHEN Tiantian(School of Chinese Language and Literature,Lanzhou University,Lanzhou,Gansu 730020)

机构地区：[1]兰州大学文学院,甘肃兰州730020

出　　处：《绵阳师范学院学报》2024年第4期93-99,共7页Journal of Mianyang Teachers＇ College

基　　金：国家社会科学基金一般项目“西方怪诞美学思想研究”(18BZW029);第12批中国博士后科学基金特别资助“西方怪诞美学关键词研究”(2019T120577);“汉语语境与西方怪诞美学思想研究”(2023lzujbkyjh004)。

摘　　要：考察文学作品中小红帽形象的流变史,可以将其分为三个阶段:十四世纪的口头文学、十七至十九世纪的传统童话和二十世纪之后的女性主义批评。口头文学中的小红帽无疑充满了怪诞特征,表现为各种血腥、暴力以及性暗示;传统童话中的小红帽则被赋予道德训诫的角色使命,是父权制度下男性对女性的规约,是权力话语的体现。进入二十世纪,女性主义批评家安吉拉·卡特对这个故事进行改写,实际上就是对这种权力话语的抵抗,她揭露出经典童话作为权力话语的载体而产生的非本质性以及文本反过来产生权力关系的怪诞机制,改变了传统童话中女性被凝视、被规训的结局,开辟了一个权力关系新空间。The history of the changing image of Little Red Riding Hood in literature can be divided into three stages:oral literature in the 14th century,traditional fairy tales from the 17th century to the 19th century,and femi⁃nist criticism after the 20th century.Little Red Riding Hood in oral literature is undoubtedly full of grotesque fea⁃tures,manifested in various kinds of blood,violence and sexual innuendoes;Little Red Riding Hood in traditional fairy tales is given a role of moral admonition,which is a statute of men to women under the patriarchal system and an embodiment of power discourse.The rewriting of this story by the feminist critic Angela Carter in the 20th cen⁃tury was actually a resistance against this kind of power discourse.She exposed the non-essential nature of classi⁃cal fairy tales as carriers of power discourse and the grotesque mechanism of the text producing power relations in return,changed the ending of traditional fairy tales where women are stared at and disciplined,and opened up a new space for power relations.

关 键 词：小红帽 怪诞 安吉拉·卡特 

分 类 号：I106.8[文学—世界文学]