摘要
在当代女性主义文论中,吉尔曼的短篇小说《黄色墙纸》已被确立为关于性别政治的典范之作。本文从文学研究的"物转向"出发,提出以视觉性取代文本性,不再将"墙纸"作为外部政治或文化的喻指,而是作为认知和审美对象的具体可感的物。通过以艺术史的目光来重新审看吉尔曼笔下那面让女主人公发疯的墙纸,我们不仅能看到《黄色墙纸》所属的"世纪末"视觉文化语境对个体视觉经验的形塑,还能挖掘出吉尔曼对晚期维多利亚时代美学话语的批判性介入。
For contemporary feminist literary criticism,Charlotte Perkins Gilman's"The Yellow Wallpaper"has been established as a canonical text of gender politics.This article,inspired by"the Object Turn"in critical theories,proposes a reconsideration of this classic short story,shifting one's analytical focus from textuality to visuality.Rather than taking the"wallpaper"merely as a trope on external politics and cultures,I suggest that the wallpaper be regarded as a physical object for one's cognitive and aesthetic behavior.It is through the lens of art history that we can see that the way that ghostly"yellow wallpaper"provoked and haunted the unnamed heroine is largely shaped by the fin de siècle context,and that Gilman was not only aware of the late Victorian aesthetic discourses prevalent in her time,but critically engaged with it.
作者
但汉松
Dan Hansong(English Department,Nanjing University,Nanjing,Jiangsu Province,China)
出处
《外国文学》
CSSCI
北大核心
2019年第6期115-126,共12页
Foreign Literature
基金
德克萨斯大学达拉斯分校伊迪斯·奥登那艺术史研究所与南京大学艺术学院合作项目ISAAC(Institute for the Study of American Art in China)(2018)
关键词
吉尔曼
墙纸
视觉性
审美共情
Gilman
wallpaper
visuality
aesthetic empathy
