摘要
简·爱所做三幅水彩画,因其通过文字描述而呈现的独特风格和意象引起评论界瞩目。从故事层面看,三幅画构成简故事的元件之一。而置于话语层面时,三幅画的语象叙事就成为作者夏洛蒂·勃朗特整体叙事布局的一分子。本文将分析这三幅画的语象叙事,认为其话语潜能在于揭示潜藏文本的存在。《简·爱》的表层文本聚焦于简和罗切斯特的浪漫主义爱情故事;而潜藏文本则影射罗切斯特与伯莎的金钱婚姻,隐含了勃朗特对罗切斯特的批判,以及对婚姻中经济独立和平等重要性的强调。
Jane Eyre paints three pictures in water-colors during the last two vacations in Lowood. These pictures’ verbally represented unique style and images have been drawing critical attention. At the level of story,the three pictures are a constituent part of Jane ’s romance;at the level of discourse,the ekphrasis of the pictures is interwoven into Charlotte Bront3’s narrative design of the novel as a whole.This article intends to explore and analyze the discursive potential of the pictures’ ekphrasis,and argue that,while the surface text of Jane Eyre spotlights the romance between Jane and Rochester,the pictures suggest a subtext that outlines Rochester’s marriage to Bertha and covertly registers Bront3’s criticism of Rochester ’s ruthless exploitation of Bertha and her reflection on the importance of economic independence and equality in marriage.
出处
《国外文学》
CSSCI
北大核心
2021年第4期72-80,155,共10页
Foreign Literatures
