《青草在歌唱》的女性文体学研究

论文摘要

本篇论文以女性主义文体学为理论框架，通过对多丽丝·莱辛的处女作《青草在歌唱》词汇、及物性、隐喻和聚焦四方面突出特点的分析来解读该小说的主题内容。具体包括从人称代词、称呼、姓名等词汇层面就语言使用的性别特征进行分析；通过对动词及物性的解读，分析女性在生活中的被动、无助；通过对明喻、暗喻等修辞特点分析，揭示父权制度对语言的影响和烙印；从叙事学的视角分析小说叙事的聚焦，提出看似中立的叙述者实质上采用了白人男性视角聚焦，使小说中的女性呈现出一种无法摆脱命运支配的悲剧状态。论文不仅利用传统女性主义文学理论，强调文本分析作为政治斗争的工具，结合中外文学评论家的经典阐释，论证小说女主人公玛丽成长过程中的性别局限性，来自家庭、社会，特别是白人男性利用手中的国家机器，对女性进行压制，最终玛丽无法破茧成功，而一步步走向绝境这一文本主题。同时，论文利用传统的文学文体学理论对语言特点的强调，分析小说中描述男性、女性的不同语言特征，研究其文体的性别特征，揭示小说中隐藏于字里行间的性别秘密，披露莱辛一直关注的女性成长过程中种种隐性的、显性的限制与矛盾冲突，进一步揭示女主人公命运悲剧的根源：由白人男性操纵的强制性国家机器和意识形态国家机器。通过对女作家处女作的深入解读，为人们进一步认识、理解其他作品及其创作的特点提供一定的帮助。论文通过对小说语言分析与小说涉及的政治、历史、文化，尤其是性别问题紧密结合，从微观、宏观视角两方面入手，深入细致地通过分析小说语言，揭示女主人公的生存状态与悲剧人生。因此，无论从语言还是内容方面都对读者的理解和欣赏有一定的启发作用。并且，本研究不仅关注由语言建构出来的现实性别歧视，而且关注小说文体的美学价值，有利于提高读者的鉴赏能力。

论文目录

• Acknowledgements
• 中文摘要
• Abstract
• 中文提要
• Synopsis
• Introduction
• 0.1 Research Data
• 0.1.1 A General Introduction to Doris Lessing
• 0.1.2 The Theme of The Grass Is Singing
• 0.2 Literature Review
• 0.2.1 Literature Review Abroad
• 0.2.2 Literature Review at Home
• 0.3 The Objectives of this Thesis
• 0.4 Research Methodology of this Thesis
• 0.5 The Significance of this Thesis
• 0.6 The Layout of this Thesis
• Chapter 1 Theoretical Basis of the Thesis
• 1.1 The Origin of the Theory of Feminist Stylistics
• 1.1.1 The Development from Stylistics to Feminist Stylistics
• 1.1.2 Impact of Classical Feminist Works and Movements on the Construction of Feminist Stylistics
• 1.1.3 The Impact of Critical Linguistics on the Construction of Feminist Stylistics
• 1.2 An Introduction to Feminist Stylistics and its Basics
• 1.2.1 A Brief Introduction to the Theory of Feminist Stylistics
• 1.2.2 A Typical Model of Text from the Perspective of Feminist Stylistics
• 1.2.3 The Important Function of Reading from the Perspective of Feminist Stylistics
• 1.3 Major Analytic Tools Employed by Feminist Stylistics
• 1.3.1 Metaphor and Simile as an Analytic Tool in Feminist Stylistics
• 1.3.1.1 Metaphor and Simile as an analytic Tool from the Perspective of Traditional Stylistics
• 1.3.1.2 Metaphor and Simile as an Analytic Tool from the Perspective of Feminist Stylistics24
• 1.3.2 Transitivity Choices as an Analytic Tool in Feminist Stylistics
• 1.3.2.1 Transitivity Choices as an Analytic Tool from the Perspective of Traditional Stylistics
• 1.3.2.2 Transitivity Choices as an Analytic Tool from the Perspective of Feminist Stylistics
• 1.3.3 Focalization as an Analytic Tool in Feminist Stylistics
• 1.3.3.1 Focalization as an Analytic Tool from the Perspective of Traditional Stylistics
• 1.3.3.2 Focalization as an Analytic Tool from the Perspective of Feminist Stylistics
• 1.4 Summary of this Chapter
• Chapter 2 Feminist Stylistic Analysis of The Grass Is Singing on the Lexical Level
• 2.1 The First Person Pronouns and Gender Roles in The Grass Is Singing
• 2.1.1 The First Person Pronouns Revealing the Relationship between Mary and Other White People as a Group
• 2.1.1.1 The First Person Pronouns Revealing the Relationship between Mary and the Dominating White Group
• 2.1.1.2 The First Person Pronouns Revealing the Relationship between Mary and Her Friends in Town
• 2.1.2 The First Person Pronouns Revealing the Relationship between Mary and Dick
• 2.1.2.1 The First Person Pronouns Revealing the Relationship between Mary and Dick Shortly after Their Marriage
• 2.1.2.2 The First Person Pronouns Revealing the Relationship between Mary and Dick Years after Their Marriage
• 2.1.3 The First Person Pronouns Revealing the Relationship between Mary and Moses
• 2.2 Gender-specific Personal Names and Terms of Address in The Grass Is Singing
• 2.2.1 Gender-specific Ways in Which Mary and Dick are Named and Addressed
• 2.2.1.1 Gender-specific Ways in Which Mary and Dick are Named
• 2.2.1.2 Gender-specific Ways in Which Mary and Dick are Addressed
• 2.2.2 Naming and Addressing Practice with Political Hints for the Natives in The Grass Is Singing
• 2.3 Summary of this Chapter
• Chapter 3 Analysis of The Grass Is Singing from the Perspective of Transitivity
• 3.1 Typical Transitivity Choices Suggesting Mary’s Passivity to Others before her Marriage
• 3.2 Typical Transitivity Choices Suggesting Mary’s Passivity to Dick after her Marriage
• 3.3 Typical Transitivity Choices Suggesting Mary’s Passivity to Moses
• 3.3.1 Typical Transitivity Choices Suggesting Mary’s Pretentious Superiority to Moses
• 3.3.2 Typical Transitivity Choices Suggesting Mary’s Obedience to Moses
• 3.4 Summary of this Chapter
• Chapter 4 Analysis of The Grass Is Singing from the Perspective of Metaphor
• 4.1 Similes Reflecting the Hierarchy of the Colonial African Society and Gender Roles in The Grass Is Singing
• 4.2 Extended Metaphors Reflecting the Repressive African Colonial Society and Gender Roles in The Grass Is Singing
• 4.3 Similes, Metaphors Reflecting Distinctive Cognition and Mind Style of Repressed Mary in The Grass Is Singing
• 4.4 Summary of this Chapter
• Chapter 5 Narrative Focalization in The Grass Is Singing
• 5.1 Narrative Focalization from the White Males’ Perspective in The Grass Is Singing
• 5.1.1 Narrative Focalization from the Dominant White Males’ Perspective in The Grass Is Singing
• 5.1.2 Narrative Focalization from Tony’s Perspective in The Grass Is Singing
• 5.2 Narrative Focalization from Mary’s Perspective in The Grass Is Singing
• 5.3 Shifts of Focalization in The Grass Is Singing
• 5.3.1 Shifts of Focalization between Mary and Dick
• 5.3.2 Shifts of Focalization between Mary and Moses
• 5.4 Summary of this Chapter
• Conclusion
• Bibliography
• 个人简历