安‧瑞德克麗芙《義大利人》之厭棄女人探究
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2010
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本篇論文旨在探討安‧瑞德克麗芙作品《義大利人》中的厭棄女人。採用法國女性主義學家茱莉亞‧克里斯多娃的「厭棄」理論來分析誌異小說中的女性角色，不難發現女性多被刻板地塑造成落難少女或邪惡母親，兩者分別代表厭棄理論中的兩種極端。但瑞德克麗芙身為女性誌異小說的先驅率先打破傳統，刻畫跳脫性別窠臼、具有自我意識的女主角，卻又巧妙地不致違背十八世紀末期的保守風氣。以瑞德克麗芙對誌異女性開創性的描寫為基礎，本文試加以說明，傳統厭棄女人如忍辱負重的貞潔淑女或野心勃勃的女性家長都未能擺脫父權意識的束縛；唯有融合厭棄理論中兩種極端特質、認同自我的女主角才有可能真正跨越性別疆界，為女性爭取更多的自主權。儘管就理論上來說，厭棄者無法取得主體的地位，瑞德克麗芙在她的誌異想像中，為受困於男性霸權的女性開創出有限卻真正屬於自我的空間。
全文共分成五章。第一章為緒論，介紹女性誌異小說的傳統、《義大利人》文本及其相關批評、以及克里斯多娃的「厭棄」理論。第二章討論見斥的厭棄女人：舉止合宜的有德女子終生屈從於歧視女性的社會規範，放棄了追求自由的機會。第三章探討踰越的厭棄女人：被妖魔化的女性家長試圖奪取男性權威卻反過來鞏固了父權體制。第四章分析結合厭棄理論雙重特質的新女性：她們積極卻不激進的態度才能幫助女性在不利的環境中獲取最大的自主權。第五章是結論，總述全文重點，兼論瑞德克麗芙身為具備自我意識的女性作家對文壇的貢獻。
Three types of abject woman in Ann Radcliffe’s The Italian will be analyzed from Julia Kristeva’s perspective of abjection in this thesis. The Kristevaian model, with Barbara Creed’s interpretation, emphasizes the two opposite characteristics of abjection – (r)ejection and transgression. Gothic women used to be prototypical characters depicted either as persecuted maidens, the rejected abject, or as tormenting monsters, the transgressive abject. But Radcliffe, as the forerunner of Female Gothic, breaks the conventions by sending her heroines across the gender boundary without offending the proprieties. Taking Radcliffe’s pioneering depiction of Gothic women as the basic premise, this thesis tries to argue that both virtuous mother and monstrous madonna fail to free themselves from gender norms. Only the border-crossing woman is likely to strive for more autonomy. Although in definition the abject can never become the subject, Radcliffe in the novel creates limited but efficacious spaces for women within the institution of male power. This thesis consists of five chapters. Chapter one is a general introduction, talking about Female Gothic conventions, The Italian and its critical response, and the methodology of Kristeva’s abjection. Chapter two focuses on virtuous mothers, the rejected abject, who give in to male hegemony and lose their freedom. Lady Olivia and Signora Bianchi are taken as instances. Chapter three centers on monstrous mothers, the transgressive abject, who attempt to take over male power but turn out to consolidate patriarchy. The Marchesa di Vivaldi and the abbess of San Stefano are representatives. Chapter four explores border-crossing women who combine the contrary characteristics of the abject. Their betwixt and between enables them enjoy great autonomy. Ellena di Rosalba and the abbess of Santa della Pieta are best examples. Chapter five is a concluding part that discusses the contribution of Radcliffe as a self-aware female writer.
Three types of abject woman in Ann Radcliffe’s The Italian will be analyzed from Julia Kristeva’s perspective of abjection in this thesis. The Kristevaian model, with Barbara Creed’s interpretation, emphasizes the two opposite characteristics of abjection – (r)ejection and transgression. Gothic women used to be prototypical characters depicted either as persecuted maidens, the rejected abject, or as tormenting monsters, the transgressive abject. But Radcliffe, as the forerunner of Female Gothic, breaks the conventions by sending her heroines across the gender boundary without offending the proprieties. Taking Radcliffe’s pioneering depiction of Gothic women as the basic premise, this thesis tries to argue that both virtuous mother and monstrous madonna fail to free themselves from gender norms. Only the border-crossing woman is likely to strive for more autonomy. Although in definition the abject can never become the subject, Radcliffe in the novel creates limited but efficacious spaces for women within the institution of male power. This thesis consists of five chapters. Chapter one is a general introduction, talking about Female Gothic conventions, The Italian and its critical response, and the methodology of Kristeva’s abjection. Chapter two focuses on virtuous mothers, the rejected abject, who give in to male hegemony and lose their freedom. Lady Olivia and Signora Bianchi are taken as instances. Chapter three centers on monstrous mothers, the transgressive abject, who attempt to take over male power but turn out to consolidate patriarchy. The Marchesa di Vivaldi and the abbess of San Stefano are representatives. Chapter four explores border-crossing women who combine the contrary characteristics of the abject. Their betwixt and between enables them enjoy great autonomy. Ellena di Rosalba and the abbess of Santa della Pieta are best examples. Chapter five is a concluding part that discusses the contribution of Radcliffe as a self-aware female writer.
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女性誌異, 厭棄, 茱莉亞‧克里斯多娃, 《義大利人》, 安‧瑞德克麗芙, Female Gothic, abjection, Julia Kristeva, The Italian, Ann Radcliffe