《我的名字叫红》中的女性形象意义毕业论文_汉语言文学毕业论文

《我的名字叫红》中的女性形象意义毕业论文

2021-04-04更新

摘 要

ABSTRACT

绪论 „„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„1

第一章 女性的生存困境„„„„„„„„„„„„„„„„„„„„„„„„3

第一节 伊斯兰教文化的束缚„„„„„„„„„„„„„„„„„„„„„4

第二节 父权和夫权的双重压迫„„„„„„„„„„„„„„„„„„„„6

第二章 女性的话语表达 „„„„„„„„„„„„„„„„„„„„„„„8

第一节 女性的话语与权力„„„„„„„„„„„„„„„„„„„„„„„8

第二节 婚姻自由与幸福„„„„„„„„„„„„„„„„„„„„„„„9

第三节 女性的欲望表达与平等追求„„„„„„„„„„„„„„„„„„10

第三章 女性形象的文化象征 „„„„„„„„„„„„„„„„„„„„„12

第一节 女性的文化立场„„„„„„„„„„„„„„„„„„„„„„„12

第二节 二元对立的象征„„„„„„„„„„„„„„„„„„„„„„„14

结论 „„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„„16

参考文献 „„„„„„„„„„„„„„„„„„„„„„„„„„„„„„17

致谢

《我的名字叫红》中的女性形象意义

摘 要

奥尔罕·帕慕克在《我的名字叫红》中塑造了两位重要的女性角色:谢库瑞和艾斯特,以及一位特殊的女性:说书人扮演的女人。她们的叙述为我们展现了其时女性的生存困境和独特、智慧的话语表达,女性形象对小说多重的情节发展和结构有重要作用,从文化主题的层面上说,女性形象也是文化冲突的一个象征, 作者更借女性之口表达了文化融合的愿望。本文从《红》中出现的三位女性叙述者入手,深入土耳其的文化历史并结合女性主义理论对以主角谢库瑞为代表的女性的生存困境和话语表达进行分析,最后深入小说的文化主题层面,探讨《红》中女性形象所特有的文化象征。

关键词:女性 困境 话语 文化象征 《我的名字叫红》

The meaning of female images in “My Name is Red”

Abstract

OrhanPamuk has created two important female characters in My Name is Red: Shekuri, Astor and a special woman who is played by the storyteller. Their narrative shows us the survival dilemma and unique discourse expression of women at the time. The female image plays an important role in the multiple plot development and structure of the novel. From the perspective of cultural theme, the female image is also a symbol of cultural conflict. The author also expressed the desire for cultural integration through the expression of women.This article starts with the three female narrators appearing in My Name is Red, goes deep into the cultural history of Turkey and combines feminist theory to analyze the survival dilemma and discourse expression of women represented by the main character Shekuri, finally deepens the cultural theme of the novel and explores the cultural symbols which is unique to the female image in My Name is Red.

Key Words:Female, Dilemma, Discourse, Cultural Symbol, My Name is Red

绪 论

小说《我的名字叫红》以 16 世纪末的伊斯坦布尔为背景,此时的奥斯曼帝国正从繁荣走向衰落,对强盛帝国的陨落以及灿烂文化凋零的叹息使得整部小说弥漫着哀伤的情绪。在怀旧的同时,帕慕克用尖锐、讽刺的笔触描绘了那个时代社会的混乱与动荡、人性的矛盾与虚伪以及制度僵化、道德败坏等种种问题。其中女性的处境是书中颇受关注的一个问题,帕慕克在《红》的不同章节中以女性的第一人称视角叙述故事,并塑造了三个独特的女性角色:谢库瑞、艾斯特以及说书人扮演的女人,她们的叙述对小说的情节、结构有着重要作用,她们独特的女性话语为我们展示了不一样的故事视角。其中谢库瑞是爱情线索的主角,而艾斯特是黑与谢库瑞爱情的推动者,说书人扮演的女人则在揭示小说文化主题上具有重要意义。本文将从以下三个方面,将文本与土耳其的历史文化相结合,探讨文本中所体现的女性问题,最后指出女性角色在小说中的重要象征意义。

国内研究现状

2006 年上海人民出版社引进并翻译出版了第一本奥尔罕·帕慕克的小说《我的名字叫红》,同年帕慕克及其代表作《我的名字叫红》荣获诺贝尔文学奖,受到了举世瞩目,也引起了国内研究者的关注。一些关于奥尔罕·帕慕克的介绍和访谈录开始出现。2007 年以后对《我的名字叫红》的各种专业性研究更是层出不穷,2009 年上海三联书店出版《帕慕克在十字路口》,汇集了帕慕克在访问中国期间的演讲、访谈以及中国的学者和作家对帕慕克作品的解读,对帕慕克研究有重要意义。

国内对《我的名字叫红》的女性主题的研究较少,刘利平《谢库瑞与山鲁卡

德 ——从女性角色的塑造看lt;一千零一夜gt;对lt;我的名字叫红gt;的影响》,通过谢库瑞和山鲁卡德两位女性形象的对比研究来讨论《一千零一夜》对于《我的名字叫红》的影响;高华的《lt;我的名字叫红gt;中的女性隔离与艾斯特的超越隔离》则追溯了奥斯曼帝国时期存在的对女性的隔离制度,从而探讨了艾斯特这一女性角色的特殊意义,具有启发性。

从整体来看,国内对《我的名字叫红》的研究主要集中在文化主题和叙事艺术的讨论上。其中对文化主题的研究主要围绕文化背景、文化冲突与融合、后殖民下的文化身份认同等角度。詹春花在《论lt;我的名字叫红gt;叙事中的文化主题》中提出《红》包括爱情、谋杀与文化三条线索,而文化是它最关键的主题,小说借用巧妙的叙事方式揭示了当代文化的多元性和东西方文化的冲突根源;李巍巍

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