压迫与反抗:《好女人的爱情》的女性哥特式解读  

Oppression and Resistance:Femle Gothic Analysis of The Love of a Good Woman

作　　者：王海燕 Wang Haiyan(School of Foreign Languages,Soochow University)

机构地区：[1]苏州大学外国语学院

出　　处：《世界文学评论(高教版)》2024年第3期124-126,共3页The World Literature Criticism

摘　　要：诺贝尔文学奖得主艾丽丝·门罗的《好女人的爱情》体现了典型的“女性哥特”风格。作品中表面“天使”内心“魔鬼”的女性形象打破了哥特小说的传统,探索女性复杂立体的新形象;从小镇背景到前厅环境,不同维度的空间规训压抑了小镇女性的身体和情感。门罗还打破了传统的叙事结构,用多视角叙事和非线性的叙事结构解构权威和传统,体现出门罗作品不可靠叙事的独特风格。The Nobel Prize-winning writer Alice Munro’s The Love of a Good Woman embodies the typical“female Gothic”style.The female figure in the work,who appears as an“angel”on the surface but a“devil”inside,breaks the tradition of Gothic novels and explores the new image of complex and vivid women.From the background of small town to the atmosphere of parlor,the repression of the body and emotions of the women in the small town is imposed across different dimensions of space.Munro also breaks the traditional narrative structure,deconstructing authority and tradition with multi-perspective narration and nonlinear narrative structure,embodying Munro's unique style of uncertain narration.

关 键 词：艾丽丝·门罗 《好女人的爱情》 女性哥特 空间 

分 类 号：I711.074[文学—其他各国文学]