【作者】 程汇娟；

【导师】 李维屏；

【作者基本信息】 上海外国语大学 ， 英语语言文学， 2009， 硕士

【摘要】 安吉拉·卡特(1940-1992)是二战后英国文坛备受关注的一位女作家。她在70年代发表的力作《新夏娃受难记》曾引起广泛争议。评论界对它的反应经历了一个由低谷走向高潮的过程。引人注目的是神话原型在这部作品中占据了核心地位。尽管国内外学者曾从不同层面探讨过这部小说中的“炼金术”意象,并结合荣格理论分析其中的象征意义和主题,但他们的研究仍局限于对神话母题的机械性发掘,而对卡特“去神话”的自觉艺术追求则缺乏系统研究。本文拟在前人基础上,从情节、母题和人物三个角度深入探讨《新夏娃受难记》对荣格神话原型批评的戏仿。论文引言部分着重追述小说发表以来,批评家对其神话原型要素的探讨,提出了进一步探索的空间和可能性,并阐述了论文的基本观点和框架结构。结语部分总结了论文的要点,并简要说明卡特在戏仿荣格原型批评的同时,对一些与该理论一脉相承的宗教思想、精神分析和极端女权主义的颠覆。论文主体分为三章。第一章是“情节的戏仿”,探讨了小说情节对荣格学派提出的“个体化历程”理论的戏仿。卡特虽在小说情节上摹仿个体化历程的重要阶段,却以“反高潮”的叙事策略颠覆了荣格为个体成长制定的蓝图。小说情节层面上的“戏仿”质疑了荣格对个体心灵发展的过度结构化和原型化的判断。第二章是“母题的戏仿”,探讨了小说中嵌入的宗教、神话母题。荣格学说视母题为一种原型,并认为它是叙事作品最好的表达方式。然而卡特保留了这些母题的形态,却改变了其内核,创造出一个个具有象征性和颠覆性的意象。《新夏娃受难记》在母题层面的“戏仿”是对荣格原型批评中类型化特征的强烈抨击。第三章是“人物的戏仿”,探讨了这部小说中的三个女性形象。她们表面上具有原型人物的特点,但其本质却随着小说的发展不断游移,是对荣格学说中“永恒女性原型”的戏仿,也是一次反本质主义的创作实践。小说在人物塑造层面的“戏仿”剖析了原型批评对性别身份,尤其是女性性别身份的奴役。论文从宏观和微观的角度深入探讨了《新夏娃受难记》对荣格原型批评的戏仿。小说借助“戏仿”这一表现手法反拨了该理论中的本质主义、性别歧视和父权主义思想,并表达了卡特对“双性同体”和“两性共存”的冷静反思。与此同时,“戏仿”也将正面的批评转化为一种巧妙的戏谑和讽刺,提升了小说的艺术效果。从这种意义上说,“戏仿”是卡特在这部小说中表达思想和艺术观点的重要媒介。更多还原

【Abstract】 Angela Carter (1940-1992) is one of the important postwar British women writers. Her novel The Passion of New Eve, published in 1977, has received mixed critical opinions since its publication. It should be noted that mythological archetypes are the central element in this work. Therefore, scholars from home and abroad have made efforts to study the mythological archetypes and‘alchemical images’in this novel. They employ Jungian archetypal criticism to analyse the symbolic meaning and the thematic implications, but their study is mostly restricted to the discovery of mythological motifs within the novel. They seem to miss the fact that Angela Carter, a self-proclaimed‘demythologiser’, has intended this novel as an innovative work downplaying and subverting Jungian archetypes and their essentialist connotations. This thesis aims to examine the parodic application of Jungian archetypal criticism in The Passion of New Eve, from the perspectives of parodic plots, motifs and characters.The introduction briefly reviews the critical history related to this topic, puts forward the possibility of further study, and enumerates the basic opinions and argumentative structure of the whole thesis. The conclusion makes a brief summary of the arguments, and concisely accounts for the subversion of religion, psychoanalysis and certain kinds of radical feminisms that Carter considers are in line with Jungian thinking.The main body of the thesis consists of three chapters. Chapter 1‘The Parodic Plots’discusses parody of the Jungian individuation process through the fictional plots in this novel. The plots imitate the indispensable stages of individuation, but by employing the narrative strategy of‘anti-climax’, they dissolve Jung’s predetermined blueprint for individual development. Parody on this level paves the way for overturning Jung’s structural and archetypal perception towards human growth.Chapter 2‘The Parodic Motifs’explores parody of the religious and mythological motifs embedded in the novel. Motifs are viewed as transhistorical archetypes and the best way of representation in narrative works by the Jungians. In this novel, Angela Carter maintains the formal appearance of the motifs, but decodes and recodes them to the core. In this manner, she creates highly symbolic and subversive images out of those ancient archetypal narrative patterns. And parody on this level amounts to a strong attack on the authoritarian mythological tradition on which Jungian thinking is based.Chapter 3‘The Parodic Characters’concentrates on the three female characters. Outwardly, they belong to the stereotyped patterns, but covertly their identities shift with the development of the narrative. Therefore, characterisation in this novel becomes thedeconstructive parody of the Jungian archetypal feminine, and also completes an anti-essentialist practice. Parody on this level anatomises the restrictive forces hidden behind the archetypal criticism and their vicious enslavement of gender identities.In conclusion, the thesis makes an in-depth research into the parodic application of Jungian archetypal criticism in The Passion of New Eve, with both macro and microcosmic observations. The use of parody not only critiques the essentialist, sexist and patriarchal thinking suggested in Jungian theory, but also expresses Carter’s concern over androgyny and intersexual relationship. Besides, the novel’s artistic effect depends largely on itsexchange of obtrusive, frontal criticism to subtle imitative allusion of parody. In this sense, parody constitutes a key to understanding Carter’s critical and artistic concern in this novel.更多还原