【作者】 李雯；

【导师】 王晓路；

【作者基本信息】 四川大学 ， 比较文学与世界文学， 2003， 硕士

【摘要】 从比较文学的宏观视野出发，本文试图探讨当下第三世界电影里女性话语的策略、建构方式、实践和存在价值。结合对后殖民主义、女性主义和后现代主义其他思潮的介绍和梳理，在论述它们在第三世界的理论建构现状的同时，本文将其与当下第三世界电影文本加以整合，借用互文性的理论和方法论证它们的内在关联。 本文将从历时与共时的脉络来梳理女性文化的发展样态。一方面，女性曾经、乃至仍然被传统压抑到历史的角落里，处处遭遇潜在的、无意识的男权思想的制约，各种先在的观念加深了男权对性别的社会性的建构。而在迷失了文化身份的第三世界语境之下，民族文化遭遇了极大的危机，女性在这一情况下，即被排斥到“他者”的“他者”的境地该如何说话的困惑，不仅是一个立场问题，也是一个策略问题。 在全球化背景下，视像文化(尤其是电影本文)在文化生产、消费和传播中扮演了越来越重要的角色。本文从电影“看”与“被看”的关系切入，透视女性在视像(主要是电影)语言中如何被塑造、符码化，被解读和误读的。在西方经典电影时代，女性形象被作为男性欲望的对象和阉割威胁的能指而受到男性话语的操纵。在中国，尽管女性电影和(或)电影中女性话语并不总是有这样的方式被男权操控，但父权制社会的潜意识的确控制了镜头的指向，体现了权力和视像话语的纠结以及它们同意识形态的关联。 当女性从被观者变成观者以后，其主体性发生了变化。本文将对女性作为观者的合法性提出洁问，讨论她们在男性缺席时的话语特点。这里要对几部电影做深入详细的文本分析，论述在东西方文化融合但并未完全消除对立的过程中，东方文化被迁移、移植后出现的问题，通过电影叙事中的母女关系、姐妹情谊等映射出来;反过来在东方的框架里，它和西方的文化体系相互碰撞、融合、变异和整合的可能。 最后，一个较大的命题被提出，即东西方都在审视对方，论证“他者”的合法性，西方眼中的“他者”如何建构诉求差异性而非对立性的话语;尤其是第三世界女性创作和研究，从根本上仍然是立足传统的文学根基，但又有保留的将西方话语移入、改造，从而激发和丰富批评话语。 全文共分五部分。在综述中，主要阐明写作本文的意义和产生背景，以及目前学界的研究现状，和作者的基本方法和角度等。第一章将对要关涉的理论要旨作简单的陈述，如女性主义和后殖民主义的精髓，东方学的理论基础等，并引出问题。第二章以文本分析结合理论评述的方式介绍和分析了女性作为被观者在电影叙事中的意义和地位，和女性形象在电影这一特定框架中被符码化和解读的方式。第三章同样是在细读文本的基础上，论述后殖民主义和女性主义理论携手对电影话语的交互影响。末章从宏观的理论层面总结了上述篇章提出的问题并展望理论建构的未来和前景。更多还原

【Abstract】 From the perspective of comparative studies, the thesis attempts to explore the approaches how female discourses is constructed as well as its strategies, practices and values in the Third World films. Combined with explicit critics on post-colonialism, feminism and psychoanalytic criticism, and associated with contemporary context within which those criticisms are received, transformed and changed, the essay mainly deals with integration of theories and texts, and integralities of texts.Being considered as Other in Caucasian’ eyes, there are similarities in "women" and colonials of the Third World, from their points of view, they both are marginalized as subaltern. Even in some feminists’ thoughts, women of the Third World are not only the other, but also the other of the other. To date, in the context of globalization and pluralism, it is crucial and impending to search cultural identities for females. The topic, no matter which direction it refers to, regarding to its intrinsic tendency affiliated to politics, seems intriguing, though has remained a blank or misled field. Being a female, the inquiry of how to speak and from what sort of standpoints motivates my writing of this essay.In current circumstances, visual cultures play more and more significant roles in global market. Thus incising from the relationship of "gaze" and "being gazed", I aim to see the means by which female figures are represented, interpreted, coded, read and/or mis-read in cinematic discourses. As the bearer of the gaze, they have been controlled by masculine discourse for the sake ofobject of male desire and signifier of castration threat. Although in those Third World films, it is not always the same case, patriarchic subconscious disciplines the point of views of lens, which indicates mutual intervolutions of power, discourse and ideolojy.When female switches from objects to spectators/audiences of gaze, the subjectivity changes accordingly. Based on deep close-readings on some cinematic texts, I analyze characteristics of female discourses, esp. when male personas are absent from the image. I also investigate the possibility of colliding, interacting, transforming and integrating when oriental cultures are transplanted and re-channeled to the west, from various aspects, such as cinematic representations of mother-daughter relations and sisterhood, and so force.In conclusion, both the west and the east are being looked at each other, though from dissimilar standpoints and/or views. Subaltern can speak. As a matter of fact, women identify themselves with visual signs and languages. Furthermore, situated in a globalizing world, binary-opposition will no longer be rational. We need to communicate and have dialogues with our counterparts.The thesis has five parts. The preface is a brief introduction to the importance of doing research on this subject, current research result, and my overall point of view and perspective. The first chapter is a survey of related literary theories, such as feminism, post-colonialism, and orientalism, etc. In the second chapter, I analyze female figures in the Third World films, basically viewing them as "to-be-looked-at-ness" and bearer of gaze from narrative of cinema. Based on intertexualites of cinematic and printed texts, chapter three explores the relationships of post-colonialism, feminisms and their impacts on cinematic discourses. The last part registers all problems listed above and forsee some new topics consequently更多还原