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Feminist borderland aesthetics in three North American U.S. women's novels.

机译:美国三部北美女性小说中的女性主义边缘地美学。

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摘要

This study examines feminist borderland literary aesthetic patterns in three North American U.S. novels: So Far from God, Tracks, and Daughters of the Dust. I argue that a feminist border narrative theory is needed for critiquing U.S. women's border novels. Though contemporary narrative theory is often associated with poststructuralist or postmodernist practices, there is a plurality of approaches, such as: feminist, queer, postcolonial, borderlands, and hypertext. In addition, many scholars combine classical, structuralist, poststructuralist, and postmodernist theories when developing models for narrative critique. Most approaches, however, focus on Western aesthetic philosophies and Western cultural codes (Richardson 168-69). My study diverges from traditional narrative theories. I combine narrative theories originating in Western philosophy (e.g. feminist, queer, postmodern, postcolonial) with narrative theories originating in Gloria Anzaldua's borderlands feminist and queer theories and theories by Native American, African American/Gullah, and indigenous scholars. In doing so, my model critiques U.S. women's border novels by grounding my theoretical foundations in the historical, cultural, and politic boundaries of border zones.;In my dissertation, U.S. women's novels reconfigure cultural codes that have historically positioned women living in border zones as doubly subaltern, which means their voices have been silenced and/or left out of communal and nation-state discourses; their bodies have been defined by prescriptive, heteronormative definitions and expectations for women; their ability to move freely, without harm, in and across border locations has been limited and controlled by patriarchal, male-centered worldviews; and their economic advancement has been limited by these encoded forms of oppression.;Drawing on feminist theory, semiotic analysis, literary theory, border theories, and theories of race, gender, and class, this study's model frames each novel's encoded narratives around themes of land, language, and cultural practices. All three novels are critiqued for their paradigmatic shifts from traditional Western and non-Western referents: the female self is resignified as a site of knowledge, self-enunciation, and agency. In addition, I introduce the terms direct and indirect translation to define bilingual, multilingual, and monolingual English as aesthetic functions. I also introduce the term reverse transculturation to define readers' experiences when actively interpreting the cultural, historical, geographical, and political woman-centered meanings expressed.
机译:这项研究考察了三部北美美国小说中的女权主义边缘地域文学审美模式:《远离上帝》,《尘埃落定》和《尘埃女儿》。我认为,要批评美国女性的边界小说需要女性主义的边界叙事理论。尽管当代叙事理论通常与后结构主义或后现代主义实践相关联,但存在多种方法,例如:女权主义,酷儿,后殖民主义,边疆和超文本。此外,在发展叙事批评模型时,许多学者结合了古典,结构主义,后结构主义和后现代主义理论。但是,大多数方法都集中在西方美学哲学和西方文化规范上(理查森168-69)。我的研究与传统叙事理论不同。我将起源于西方哲学的叙事理论(例如女权主义者,酷儿,后现代,后殖民)与源自格洛里亚·安扎尔杜阿(Gloria Anzaldua)边疆女权主义者的叙事理论和同志理论和由美国原住民,非裔美国人/古拉(Gullah)和土著学者提出的理论联系在一起。通过这样做,我的模型通过将我的理论基础置于边界地区的历史,文化和政治边界上来批评美国女性的边界小说。;在我的论文中,美国女性小说重新配置了文化准则,使居住在边界地区的女性在历史上定位为双重副词,这意味着他们的声音已被静音和/或被排除在公共和民族国家的话语之外;他们的身体是根据规范性的,非规范性的定义和对女性的期望来定义的;他们在以边界为中心的以父权制,以男性为中心的世界观中受到限制和控制,他们在边界地区内外自由移动的能力不受伤害。这些经济的发展受到这些编码形式的压迫的限制。;利用女权主义理论,符号学分析,文学理论,边界理论以及种族,性别和阶级理论,本研究的模型围绕每一个小说的主题围绕着编码叙事土地,语言和文化习俗。批评这三部小说的原因是它们从传统的西方和非西方指涉对象的范式转变:女性自我被重新定位为知识,自我表达和代理的场所。另外,我介绍了直接和间接翻译这两个术语,以将双语,多语和单语英语定义为审美功能。在积极解释以女性为中心的文化,历史,地理和政治意义时,我还将介绍“反跨文化”一词,以定义读者的经历。

著录项

  • 作者

    Bertonazzi, Judy M.;

  • 作者单位

    Indiana University of Pennsylvania.;

  • 授予单位 Indiana University of Pennsylvania.;
  • 学科 Literature American.;Native American Studies.;African American Studies.
  • 学位 Ph.D.
  • 年度 2013
  • 页码 255 p.
  • 总页数 255
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 宗教;
  • 关键词

  • 入库时间 2022-08-17 11:42:05

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