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女性创作与童话模式
Women Writing and Fairy Tale

【作者】戴岚 【导师】陈勤建

【作者基本信息】华东师范大学，文艺学，2007年，博士


【摘要 (中文/英文)】 十八世纪前后，英国女性作家文学创作兴起，并渐渐进入男性话语所统治的文坛，此后的维多利亚时代，涌现出“一批出色的小说家”，从此揭开了女性写作小说的新篇章。童话长期以来“寄生”于民间，自欧洲启蒙运动以来，文人才开始自觉地创作并使之逐渐成为独立的文类，其中，女性也显示出种种参与的痕迹。将英国维多利亚前后女性小说与童话作比照，首先，是缘于女性与儿童的社会边缘性处境，“弱者”的叙述话语体现了她们内里相通的精神情态，女性作为孩童最亲密的启蒙者，也成为童话的主要承载者和传播者，女性创作与童话之间或明或暗、千丝万缕且无法割舍的关联为我们从童话模式角度理解女性小说提供了可能。而深入了解童话概念的演变、发展，更进一步彰显出知识女性在童话独立化过程中所发挥的潜在的作用。 本文立足于文艺民俗学的视角，从源于民间的童话这一侧面切入，考察英国19世纪女性小说创作的某些特质，经由发生、叙事、主题、结构形态以及审美等方面入手，深化我们对该时期女性作家小说之童话性特征的认识。本文追溯女性与童话之间的必然关联、女性书写的童话思维模式、叙事方式等问题，在回顾的基础上，对女性经典小说与童话内涵作了比照和文本分析，力图细致、全面呈现的内容，除了女性小说与童话创作表层相似性，还有两者深层的同质特性。 本文共分八章。第一章“关于女性创作”，主要探讨作为社会边缘的女性的创作环境、生存状态，“一派出色的小说家”纷纷以边缘的身份展示平淡但却丰富多彩的生活世相，在小说话语中反馈自我的主体性，女性主义批评肯定了女性话语建构的过程，作为文学批评的一种方法，它的价值也日益受到关注，从边缘向中心的迈进，累积了几代女性的抗争，从被迫“失语”到主动建构，从被书写的客体到积极张看的主体，她们在边缘与中心的游走摆荡的写作的历史，清晰地表明一个事实，那就是，她们自始自终，是叙事的主体。 第二章着重于“童话”这一文类的起始、演化和发展。童话并非是由儿童创作的，它最初不但是一种成人的叙述，并且是以成人自己为受众的叙述；童话来源于民间，其故事元素存在于神话、传说、寓言等体裁之中，但伴随着对“童话”内涵的误解，和启蒙运动前后包括女性在内的知识分子的不经意的叙事“策略”，它逐渐成为独立的文类。而这一文类的独立，标示着人类对“童年”的发现，影响深远。“童年”的发现和女性作为“人”的发现几乎始于同一历史地平线，这为考察两者的关联奠定了必要的基础。 第三章“女性小说与童话创作的同源同构”从发生的角度深入探析，指出童话的兴起也是女性介入社会话语、建构社会身份的发端。女性深入创作的过程经历了民间故事的书面化、经典化，并逐步走上自觉自在的书写，这与童话的萌芽轨迹有某种同构性。 第四章关注“女性创作的童话叙事方式”这一话题，从童话和小说的再生态环境——沙龙，考察两者“说故事”的类同叙事，在故事演绎过程中，情感的交流以及人物日常对话的陈述形式，使女性小说创作与童话拥有共同的私语空间。文本所具有的内在的和谐性、情感的超越性因素，需要我们以立体多元的思维方式来透视两种叙事文类的本质内核。 第五章“女性话语的童话化内涵”从主题的角度指出，女性作家的童话化内涵是多元综合的，道德感、灰娘追求、善恶角逐等话语主题在不同作家的作品中都曾出现，“二元对立”式价值评判主题在女作家笔下屡见不鲜，超自然的鬼怪故事回荡着哥特式小说的阴魂，而爱的主题在女性小说和童话中获得永恒的定义。 第六章“女性创作之童话形态与原型意象”从文本结构的角度，试图用普罗普的形态学方法，用弗莱的原型批评理论关照作品。 第七章“女性创作的童话审美情趣”从审美角度，探讨女性小说与童话如出一辙地将艺术提炼的真、善、美与生活中的理、智、情相互融通，最终外化为文本式的心路记载，而内化为精神领域的人文诗性关怀这一审美特征。 第八章“女性创作的童话策略”指出维多利亚时期的女性作家以自己的话语／书写实践试图破解男性话语的魔咒，她们籍由“姐妹情谊”，小心翼翼地采用替身策略树立自我的规范，以象征性的表述手法建构自我的真实形象，她们不自觉地重述并重塑童话。

Around the turn of the 18th century, British women writers entered the history of literature which was previously dominated by male discourse. Soon in the Victoria Age, a new chapter of female writing was initiated by "a group of brilliant fictionists" . Fairy tales spread their roots in the folk and it is until the European Enlightenment Movement, conscious composition of fairy tales began to emerge. In the process of fairy tale becoming a special genre, female writers had their contribution. Compare Victoria women writings and fairy tales, some common features are found. Living at the edge of the society, women and children share the identity of the helpless, hence the former naturally becomes the speaker of the latter, and later the bearer and disseminator of fairy tales. The thesis thereby tries to interpret female writings through the pattern of fairy tales, in the effort it may come back to explain how women writers have influenced the genre of fairy tales. "Literature and Folklore" as a basic perspective, the thesis explores the 19th century women writings in views of theme, motif, construction pattern and aesthetic style in order that the fairytale feature in women writings might be disclosed. By tracing the long history of female writings and fairy tales, and by comparing their respective narrative patterns and imagination mode, the thesis concludes that female writings and fairy tales share not only a surface comparability, but also a deep and profound homogeneity. The thesis is composed of eight chapters. Chapter One discusses female writings through their writing environment and living condition. Though at the edge of the society, women writers present us with rich and colorful portraits of daily life, and therefore gain their subjectivity in fictional discourse. Female criticism values the constructing process of female discourse, which is winning evermore attention in literary study. Aiming at a central position from the edge of the society, female writers have cumulated a lot of experience, from compelled "aphasias" to initiative construction, from written objects to writing subjects. And finally they express themselves as the narrative subjects all along the writing history. Chapter Two is about the origination, the evolvement and the development of the mode of fairy tales. At the beginning, fairy tales are not only created by the adults but also read by them. Fairy tales have their roots in the folk and the elements of the stories are embodied in fables, legends and myths. While, partly due to the misunderstanding of the fairy tale, partly due to the unintentional narrative strategies of the intellectuals, fairy tale gradually become a genre of its own, which symbolizes the influential discovery of "childhood" . Put briefly, the discoveries of "childhood" and "woman being human" happen simultaneously and establish the base for comparing women writings and fairy tales. Chapter Three points out that the rising of fairy tales witnesses the initial period that women get their social discourse and social identity. Using the origin logical theory of literature, this part analyzes the isomorphic characters shared by female writings and fairy tales. In the process of women writing becoming conscious, we find the budding and rising of fairy tales. Chapter Four focuses on the narrative pattern of women writing. By studying the regeneration setting, here the salon, it suggests that women writings and fairy tales possess a common place, where their authors can voice out their personal feelings by using the daily dialogue. It is in this sense that the multi-analysis method is encouraged in comparing these two genres. Chapter Five is a thematic study. "The fairy-tale-hearted female discourse" is discussed through different themes, i.e. the pursuit of the Cinderella, the wrestle between good and evil. In both women writings and fairy tales, dualism is a common feature and gothic atmosphere is most often seen and the motif of love is the everlasting theme. Chapter Six writes from the angle of textual structure in the effort to shape the fairytale morphology of female writings. In this chapter, the morphological method of Prop and the archetypal theory of Frye are adopted. Chapter Seven describes the aesthetic feature of women writings. In view of "truth, goodness and beauty" , we find these artistic features echo in the form of "reason, wisdom and emotion" in daily life. Hence an autobiographical poetic character can be traced in both women writings and fairy tales. Chapter Eight is titled "the fairy-tale-strategy in women writing" and points out that women writers of Victoria Age has escaped the spell of male discourse through their own practice of writing. By developing their sibling friendship, women writers cleverly yet gingerly adopt the substitute strategy of self-construction and consciously or unconsciously, they retell and reshape the fairy tales via symbolistic method of story telling.

【关键词 (中文/英文)】 英国十九世纪; 女性小说; 童话模式 19~(th) century British; women writing; mode of fairy tales

【发表年期】2007年03期 【网络出版投稿人】华东师范大学 【DOI】CNKI:CDMD:1.2007.082893