可怕的家庭生活-家园作为一个场所的压迫深红峰

IF 0.1 0 LITERATURE Sic Pub Date : 2017-12-18 DOI:10.15291/SIC/1.8.LC.3
Emilia Musap
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引用次数: 6

摘要

本文首先简要介绍了吉列尔莫·德尔·托罗执导的流行文化叙事电影《深红之峰》(2015)。分析集中在del Toro重新引入的最引人注目的哥特式比喻上,即众所周知的豪宅,同时展示了弗洛伊德的海姆利克和非海姆利克元素,压迫和解放了它的居民。由于故事围绕着两位女主人公露西尔·夏普和伊迪丝·库欣展开,因此本文也引用了女性主义的社会文化视角,主要是吉莲·罗斯和雪莱·马莱特的视角,以了解两位主角在这个明显的哥特式空间中的位置。本文旨在强调露西尔作为房子女主人的解放是虚幻的,尽管她被描绘成家庭腐败的化身。正是因为她是一个性活跃的女人,是父权秩序的破坏者,她最终必须受到惩罚。尽管德尔·托罗颠覆了阁楼上疯女人的传统形象,将她置于叙事的中心,但Allerdale Hall并没有显示出自己是一个女性赋权的空间。
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Monstrous Domesticity – Home as a Site of Oppression in Crimson Peak
This paper begins by offering a brief overview of the popular culture narrative Crimson Peak (2015), directed by Guillermo del Toro. The analysis focuses on the most compelling Gothic trope del Toro reintroduces, the proverbial mansion, simultaneously displaying Freud’s heimlich and unheimlich elements , oppressing and liberating its inhabitants. Since the narrative revolves around two female protagonists, Lucille Sharpe and Edith Cushing, the paper also refers to feminist socio-cultural perspectives on space, primarily Gillian Rose’s and Shelley Mallett’s, in order to understand the position of the two protagonists within the decidedly Gothic space. This paper aims to emphasize that Lucille’s liberation as the mistress of the house is illusory regardless of the fact that she is represented as the embodiment of domestic corruption. It is precisely because she is a sexually active woman and a disruptor of the patriarchal order that she must ultimately be punished. Even though del Toro subverts the traditional image of the madwoman in the attic by positioning her at the center of the narrative, Allerdale Hall does not reveal itself as a space of female empowerment.
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来源期刊
Sic
Sic Arts and Humanities-Literature and Literary Theory
CiteScore
0.10
自引率
0.00%
发文量
13
审稿时长
24 weeks
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