對(duì)安娜.卡列尼娜悲劇的女性主義解讀
摘 要
19世紀(jì)中后期俄國(guó)的父權(quán)制社會(huì)，在男性的觀念、思想、行為、倫理價(jià)值的霸權(quán)話語(yǔ)中，婚姻是父權(quán)制安排給喪失了自我身份的女性的唯1出路，也是無(wú)法更改的選擇。安娜為了擺脫這1身份不惜以死相爭(zhēng)，是托爾斯泰筆下尋求個(gè)體自我真實(shí)身份的女性象征。安娜對(duì)婚姻愛(ài)情的重新選擇，顯示了她獨(dú)立的女性意識(shí)，她從最初對(duì)愛(ài)的幻想到最后決然以死相抗，安娜“死而再生”了，是安娜對(duì)父權(quán)制社會(huì)的殊死抗?fàn)帲磉_(dá)出1種全新的女性意識(shí)與女性反抗。
關(guān)鍵詞：女性意識(shí)；父權(quán)制；身份；自我
ABSTRACT
In the mid-late nineteenth century of the Russia patriarchal society, the male’s idea, thought, behavior, and ethical values in hegemony words, the marriage was the only outlet that the patriarchy arrangement for the feminine who lost their self-identities and it is also the unalterable choice. In order to break it away, Anan sacrificed her life without hesitation, who was the feminine symbol that seek the individual self- real status in Torstein’s novel. Anan’s new choice of her love, has demonstrated her independent female consciousness, from fantasy of love to finally decidedly dead, Anna "died regenerates", which was Anna’s life-and-death resistance to the patriarchal society, expressing a kind of brand-new feminine consciousness and resistance.
Key words: Feminism consciousness; Patriarchy; Identity; Self
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