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作为一种女性书写策略,戏拟是女性作家解构男性话语模式、重建女性表征的有效途径。美国犹太女作家辛西娅·欧芝克的短篇小说《普特梅瑟与赞西比》通过挪用和改写男性犹太泥人文本的方式书写女性泥人故事,她塑造的求取知识和参与历史的犹太女性形象打破了犹太泥人传说中男性对犹太知识和历史的垄断,使犹太女性重获话语权。欧芝克的女性泥人故事一方面具有典型的犹太民族特质,另一方面又具有相当的普适价值,两者共同深化了新泥人叙事的性别意义,表达了两性共享知识、言说历史,平等参与话语建构的愿景。
As a kind of female writing strategy, dramatizing is an effective way for female writers to deconstruct male discourse patterns and rebuild feminine representations. The American Jewish woman writer Cynthia Ozek’s short story “Putmersee and Zambeti” paints the story of female clay figurines by embezzlement and adaptation of male Jewish clay texts, her image of Jewish women seeking knowledge and participation in history Broke the monopoly of male Jewish knowledge and history in Jewish Clay legend and enabled Jewish women to regain their say. Ozick’s female clay figurines, on the one hand, have typical Jewish national traits and on the other hand, they have considerable universal value. Both of them jointly deepen the gender significance of the new clay man narration and express the idea that gender sharing knowledge, history of speeches, equal participation The vision of discourse construction.