“出走”的寓言式叙事模式下觉醒女性的镜像探究——读里尔克的《布里格手记》  

A mirror image study of awakening women in the allegorical narrative mode of “running away”:reading Rilke's The Notebooks of Malte Laurids Brigge

作　　者：李思贤 LI Si-xian(School of Humanities,Hainan University,Haikou 570228,China)

机构地区：[1]海南大学人文学院,海南海口570228

出　　处：《白城师范学院学报》2025年第1期65-71,共7页Journal of Baicheng Normal University

摘　　要：20世纪初,中外文学作品中觉醒女性“出走”主题的创作风潮引领了女性“出走”的寓言式叙事模式的形成。基于此叙事模式,《布里格手记》中第39章节的内容采用非线性叙事,呈现了从原生家庭、婚姻家庭“出走”的觉醒女性群像。基于拉康镜像理论和小说文本语境解读文本,在前镜像阶段、镜像阶段和后镜像阶段,“出走”的女性们经历了自我意识的觉醒,也遭遇了镜像辨别和身份认同的危机,她们试图用沉浸于文艺的方式去达成现代女性的自我建构,但仍面临着“出走”后的去向困境。At the beginning of the 20th century,the creative trend of the theme of“running away”of awakening women in Chinese and foreign literary works led to the formation of the allegorical narrative mode of women's“running away”.Based on this narrative model,the contents of Chapter 39 of The Notebooks of Malte Laurids Brigge adopt nonlinear narrative to present the group image of the awakening women who“run away”from the family of origin and marriage.Based on the Lacan's mirror stage theory and the textual context of the novel,in the pre-mirror stage,mirror stage and post-mirror stage,the“running away”women experience the awakening of their self-consciousness,and suffer from the crisis of mirror image identification and identity.They attempt to achieve the self-construction of modern women by means of immersing themselves in literature and art,but still faced the dilemma of where to go after their“running away”.

关 键 词：《布里格手记》 “出走” 寓言式叙事 拉康镜像理论 里尔克 

分 类 号：I521.06[文学—其他各国文学]