巴洛克与女性身体:亨利·詹姆斯的《梅奇所知》从狂喜到疯狂

Q3 Arts and Humanities Anglo Saxonica Pub Date : 2023-01-01 DOI:10.5334/as.111
Mohamad Mosavat
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引用次数: 0

摘要

亨利·詹姆斯的批评家们提出了他的蜿蜒曲折的意义创造美学的许多形式意识的原因。本文将詹姆斯的原始现代主义叙事与巴洛克美学的不可确定性相提并论,并将詹姆斯唯物主义中女性身体的不可描述本质作为一个未被讨论的原因。在女性主义或女性写作理论中,女性作家与身体的完整性是反抗生殖器中心主义习俗的写作实践的逻辑来源。为了为这一论断寻找一个具体的例子,我从四个共同的主题出发,颂扬詹姆斯的《梅奇所知》和《新女性》写作之间的内容意识的同时代性:对(1)主人公忧郁的母女关系的心理伦理分析;(2)她对真理的追求为本质主义的洞察铺平了道路;(3)女性美学的特权;(4)新女性身体的解放运动。本文的次要目的是通过不完美的美、运动和疯狂等主题来庆祝詹姆斯的原始现代主义中巴洛克思想的回归,从而介绍身体在他的印象主义主体和客体的完整性中的意义制造作用。
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Baroque and Female Body: From Ecstasy to Madness in Henry James’s What Maisie Knew
Henry James’s critics suggest numerous form-conscious reasons for his serpentine meaning-making aesthetics. Seeing the undecidability of James’s proto-modernist narrative on a par with that of the baroque aesthetics, this paper cites the inscribable essence of the female body in James’s materialism as one undiscussed reason. In the theories of écriture feminine or feminine writing, the female writer’s integrity with her body serves as the source of logic for the writing practice that revolts against phallogocentric conventions. In search of a concrete example for this assertion, I celebrate the content-conscious contemporaneity between James’s What Maisie Knew and New Woman writing in light of four common motifs: the psycho-ethical analysis of (1) the protagonist’s melancholic mother-daughter relationship and (2) her quest for truth paves the way for the essentialist insight into (3) the privilege of feminine aesthetics and (4) the emancipated motion of the New Woman’s body. The secondary objective of this paper is to celebrate the ideological return of the baroque in James’s proto-modernism through such topoi as imperfect beauty, motion, and madness so as to introduce the meaning-making role of the body in his impressionistic integrity of subject and object.
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来源期刊
Anglo Saxonica
Anglo Saxonica Arts and Humanities-Literature and Literary Theory
CiteScore
0.30
自引率
0.00%
发文量
5
审稿时长
9 weeks
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