镜城突围:A.S.拜厄特《占有》中的玻璃棺意象再探  

Breakthroughs of Female Life:The Glass Coffin Image Revisited in A.S.Byatt’s Possession:A Romance

作　　者：任育杰 REN Yujie(Department of Chinese Language and Literature,East China Normal University,Shanghai 200241,China)

机构地区：[1]华东师范大学中国语言文学系,上海610225

出　　处：《乐山师范学院学报》2024年第10期32-37,62,共7页Journal of Leshan Normal University

摘　　要：在《占有》中拜厄特改写了格林兄弟的玻璃棺童话,随后她又将玻璃棺意象在小说中进一步符号化,颠覆了传统“物化女性”的解读方式,传达出她对当代女性困境和男女关系危机的思考。具体而言,一方面作为栖居之地的玻璃棺不再指向女性被动、静止和沉默的地位,女性独处于玻璃棺式的空间中同样可以自我满足并创造新的意义和价值;另一方面,作为视觉场域的玻璃棺颠覆了男性凝视的霸权逻辑。女性不再是男性凝视的对象,而是透过玻璃的滤镜焕发出更多自然而迷人的美。最终拜厄特跳脱出凝视的霸权逻辑,借由身体姿态和语言关系的书写,成功探索出一种和谐平等的男女关系,为当代女性困境和两性关系危机提供了自己的解决方案。In Possession:A Romance,Byatt rewrites the glass coffin fairy tale of Grimm brothers,and then further symbolizes the image of the glass coffin in the novel,subverting the traditional interpretation of“objectifying women”.Byatt conveys her thoughts on the contemporary female predicament and the crisis of male-female relationship.Specifically,on the one hand,as a place of inhabitance,the glass coffin no longer points to the passive,static and silent status of women and women in the glass coffin-like space can also be self-satisfied and create their value.On the other hand,as a visual field,the glass coffin subverts the hegemonic logic of male gaze.Women are no longer the object of male gaze,but radiate more natural and charming beauty through the filter of glass.In the end,Byatt breaks away from the hegemonic logic of gaze and successfully explores a harmonious and equal relationship between men and women through the depiction of body postures and language relations,providing a solution to the contemporary women’s dilemma and the crisis of gender relations.

关 键 词：童话改写 玻璃棺意象 两性关系 男性凝视 

分 类 号：I106.4[文学—世界文学]