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首頁> 外文學位 >GARMENTS OF THE MIND: CLOTHING AND APPEARANCE IN THE FICTION OF DORIS LESSING (ZIMBABWE).
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GARMENTS OF THE MIND: CLOTHING AND APPEARANCE IN THE FICTION OF DORIS LESSING (ZIMBABWE).

機譯：服裝的思路：服裝的出現(xiàn)和假扮多麗絲·萊辛（津巴布韋）。

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摘要

Although Doris Lessing claims to speak for humanity rather than for women, she speaks in the context of gender. Using the language of clothing and appearance as a vehicle for her insights, she exposes the confinements of the female condition with its emphasis on appearance and image. The major responsibility of a female protagonist in Lessing's fiction is her own maturation and the development of her essential self within a series of concentric enclosures: body, clothing, and rooms. Each enclosure limits and defines, reveals and conceals, and can be trap or tool for the self within.;Lessing uses the mirror to frame her female protagonists' inquiries into their identities. She gives the mirror two voices: the patriarchal voice, which traditionally governs the mirror and diminishes a woman's sense of her essential self, and the other voice that questions the patriarchal perspective and leads beyond preoccupation with appearance.;Using the metaphor of rooms, she introduces altered states of consciousness and depicts the inner workings of the mind, particularly in The Four-Gated City. She combines the two voices of the mirror with the metaphor of rooms to frame her account of female survival in The Memoirs of a Survivor.;Thus, the "filter of a woman's mind" that Lessing tries to dismiss as insignificant is the very filter that registers the almost imperceptible ways in which the selves of her female protagonists are formed. In the language of clothing, appearance, mirrors, and rooms, and in her portrayal of the female body as a garment of the mind, Lessing reveals the traces of gender which speak to her female readers.;While Lessing exposes the ways in which preoccupation with appearance restricts the self, she also affirms the positive aspects of clothing in women's lives and the importance of reclaiming the language of appearance. She uses the language of clothing in her depiction of the body as a garment of the mind. In her portrayal of the female body as sexual object, she capitulates to patriarchal definitions, yet she insists that experience of the body's biological phases is essential. Not until middle-age when her female protagonists lose interest in sexuality can they develop into mature selves for whom the body is merely another garment to shed in the process of enlightenment.
機譯：盡管多麗絲·萊辛（Doris Lessing）聲稱是為人類而不是為女性發(fā)言，但她是在性別背景下發(fā)言。她以衣著和外表的語言作為見解的媒介，通過強調外表和形象揭露了女性狀況的局限。萊辛小說中的女主人公的主要責任是她自己的成熟以及在一系列同心的圍墻中（身體，衣服和房間）她的基本自我的發(fā)展。每個封閉空間都可以限制和定義，顯示和隱藏，并且可以作為內部自我的陷阱或工具。Lessing使用鏡子將女性主角對自己身份的詢問框起來。她給鏡子兩個聲音：父權制聲音通?？刂浦R子并削弱了女人對自己的基本自我的感覺，另一種聲音質疑父權制的觀點并超越了對表象的關注;她使用房間的隱喻，介紹意識的變化狀態(tài)，并描述心靈的內部運作，尤其是在四門城市中。她將鏡子的兩種聲音與房間的隱喻相結合，以描繪她在《幸存者回憶錄》中對女性生存的描述。記錄了女性主角自我形成的幾乎不可察覺的方式。萊辛用衣服，外表，鏡子和房間的語言，以及將女性身體描繪成心靈服裝的刻畫，揭示了對女性讀者說話的性別痕跡。萊辛揭示了專注的方式由于外表限制了自我，她還肯定了服裝在女性生活中的積極方面以及收回外表語言的重要性。她在將身體描述為心靈服裝時使用了服裝語言。在描繪女性身體為性客物的過程中，她屈從于父權制的定義，但她堅持認為，身體生物階段的經(jīng)驗至關重要。直到中年，當她的女性主人公對性愛失去興趣時，他們才能發(fā)展成成熟的自我，對于他們來說，身體只是啟蒙過程中的另一件衣服。

著錄項

  • 作者

    SAXTON, RUTH OLSEN.;

  • 作者單位

    University of California, Berkeley.;

  • 授予單位 University of California, Berkeley.;
  • 學科 Literature African.;Literature English.
  • 學位 Ph.D.
  • 年度 1986
  • 頁碼 181 p.
  • 總頁數(shù) 181
  • 原文格式 PDF
  • 正文語種 eng
  • 中圖分類
  • 關鍵詞

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