安妮·普鲁《明信片》中的汽车与美国女权主义运动  

The Automobile and the American Feminist Movement in Annie Proulx's Postcards

作　　者：周怡 Zhou Yi(English at the Institute of Literary Studies,Shanghai International Studies University,Shanghai 200081,China)

机构地区：[1]上海外国语大学文学研究院

出　　处：《外国文学研究》2024年第4期136-146,共11页Foreign Literature Studies

基　　金：上海外国语大学校级一般规划项目“美加文学的文化与政策研究”(2021114017)。

摘　　要：安妮·普鲁在处女作《明信片》中以退居二线的女性群像构建了一条隐秘的女性主义叙述副线,聚焦第一次女权主义运动偃旗息鼓之后到第二次女权主义浪潮兴起前夕的“历史间隙”,审视美国女性在美国工业化、城市化运动中的进阶与分化。与“法国年鉴学派”渊源颇深的普鲁,以20世纪美国最具代表性的文化图腾“汽车”作为美国女权主义运动起伏关键切入点的“新史料”。故事中的三位女性彼莉、莫奈和珠尔,分别以“香车美人”“汽车新娘”和“机器地母”的形象,对应着消费时代的女性、“丰裕社会”中的女性,以及战后现代职业化的女性。最终珠尔因驾车出行而死亡,既是普鲁对于“工业进步”的警醒,也包含了她对第二次女权主义运动失败的反思。Annie Proulx constructs a covert feminist narrative line in her debut novel Postcards with female minor characters. Focusing on the “historical gap” between the waning of the first wave of the feminist movement and before the rise of the second wave of feminism,Proulx examines the experience and differentiation of American women in the industrialization and urbanization movements. Strongly influenced by the “Annales School,” Proulx uses the quintessential cultural totem of 20~(th)-century America, the automobile, as “new historical material” and a key entry point into the fluctuations of the American feminist movements. The three female characters in the story, Billy as “the Beauty in the Car,” Mernelle as “the Motorcar Bride” and Pearl as “the Mechanical Earth Mother,” correspond respectively to women of consumerism, women of the “affluent society,” and post-war modern professional women.Pearl's final death from a car accident not only serves as Proulx's warning about “industrial progress” but also reflects her contemplation on the failure of the second wave of feminism.

关 键 词：安妮·普鲁 《明信片》 美国女权主义运动 汽车 

分 类 号：I712.074[文学—其他各国文学]