摘要
《蝴蝶梦》中的两位女主人公——吕蓓卡和"我",分别是传统男性社会标准下的"妖妇"与"天使"。但在父权社会失语的吕蓓卡实为一个女性意识已经觉醒的双性同体,而拥有话语权的"我"却不过是一个被男性社会操控的木偶。她们二人最终的结局固然有时代的原因及顺从男权的成分,但这种伪装无法掩盖隐藏在小说题目和吕蓓卡影响力中的女性的呼喊。正是这种巧妙的双声话语,使得这部小说不仅颇有艺术价值,更有思想深度,从而成为一部典型的女性主义文学作品。
In the novel In the novel Rebecca, two heroinesRebecca and ＂I＂ were respectively the enchantress and the angle under the standard of the traditional male society. However, the aphasic Rebecca was an androgyny of female consciousness awak ened in a patriarchal society, and ＂I＂ who owned the right of the speech was actually a puppet controlled by the male. Their end ings should be attributed to the needs of the times and the females＇ submission to the male, but this camouflage couldnt obscure women＇ s cries hidden in the title of the novel and Rebecca＇s influence. It was this clever double sound expression that endows this novel with more artistic value and deeper thoughtful, so that it has become a typical feminist work.
出处
《湖南人文科技学院学报》
2015年第3期46-49,共4页
Journal of Hunan University of Humanities,Science and Technology
作者简介
郭逦盛楠（1991-），女，河南开封人，中国海洋大学文学与新闻传播学院在读硕士，研究方向：世界文学。
