论文部分内容阅读
本文研究了最近海外作品中不同类型的跨国性和女性主义是如何根据不同的创作语境和其他因素,塑造对中国作家凌叔华(1900—1990)的再想象的。本文分析了跨国性和女性主义是如何在两部作品的创作中充当明显的关键性概念基础的——帕特里夏·劳伦斯的《丽莉·布瑞斯柯的中国眼镜》(2003)与萨沙·淑凌·魏兰德的《家国梦影:凌叔华与凌淑浩》(2006)。本文还将这些文本中的意识形态立场与其叙事形式相联系,研究这些作品中的后现代文学策略(例如他传、自传、元传记与批评之间的融合)如何对跨国主义和女性主义的反标准化、反本质主义、反等级制度的设想作出响应。这两部著作都是由学术界人士撰写,并都明显加入了理论话语。本文还考察了与此截然不同的作品,即虹影撰写的商业化浪漫小说《英国情人》,并认为虽然该书毫无必要地塑造出凌叔华的放荡形象(并将其伪装成“凌”这一虚构人物),但这部小说对女性主义和跨国性很感兴趣,只不过表现方法与上述两部作品截然不同。
This article examines how different types of transnationalities and feminists in recent overseas productions shape the reimagination of the Chinese writer Ling Shuhua (1900-1990) according to different contexts of writing and other factors. This article analyzes how transnationality and feminism play an obvious key conceptual basis in the creation of two works - Patricia Lawrence’s Lily Blissco’s Chinese Glasses (2003) and Sasha Shuling Wei Lande’s “Home Dreams: Ling Shuhua and Ling Shuhao” (2006). This essay also links the ideological positions in these texts to their narrative forms and examines how the postmodernist literary strategies in these works, such as the interplay between his biography, autobiography, meta-biographical and critical criticism, oppose transnationalism and feminism Standardization, anti-essentialism, anti-hierarchical system to respond to the idea. Both books are written by academics and have obviously joined the theoretical discourse. This article also examines this completely different work, namely Hong Ying’s commercial romantic novel “British lover”, and believes that although the book unnecessarily shaped Ling Shuhua’s ridiculous image (and disguised as “Ling ”This fictional character), but this novel is very interested in feminism and transnationality, but the performance of the method is completely different from the above two works.