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題名 | The Formation/Transformation of a Romantic Displacement: Kate Chopin's “Mamouche” and “The Godmother”=浪漫情懷的轉移與轉變--凱特.蕭邦的「緬穆虛」和「教母」 |
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作者 | 何文敬; Ho, Wen-ching; |
期刊 | 逢甲人文社會學報 |
出版日期 | 20001100 |
卷期 | 1 2000.11[民89.11] |
頁次 | 頁153-171 |
分類號 | 874.57 |
語文 | eng |
關鍵詞 | 凱特.蕭邦; 緬穆虛; 教母; 浪漫情懷的轉移; Kate Chopin; Mamouche; The Godmother; Romantic displacement; |
中文摘要 | 過去一個世紀以來,凱特‧蕭邦的〈緬穆虛〉和〈教母〉一直未受重視;事實上,這兩個短篇故事值得深入比較,因為兩者皆以路易西安那州的納可塔鎮為背景,同樣處理浪漫戀情、失戀、浪漫情懷的轉移和寬恕惡作劇或做壞事等母題。〈緬穆虛〉中的單身老農約翰陸易士和〈教母〉中的老處女譚娣‧愛蘿迪年輕時均遭受失戀之苦。雖然敘述者均未刻劃戀愛情節,但是兩者之所以終身未娶/嫁,顯然與其失戀有關。更有趣的是,儘管(或者說:由於)以前的失戀,約翰陸易士和愛蘿迪都將浪漫情懷轉移到舊時情人的後代身上。 不過,〈緬穆虛〉的故事側重在老農舊情轉移的開端,〈教母〉則聚焦於愛蘿迪與其舊情人的兒子之間情感的轉變,其關鍵乃是蓋布爾在半夜裡失手殺死了一個人,愛蘿迪知道後漏夜取回凶刀以掩飾其教子之罪。其次,敘述重點的差異導致截然不同的結局。〈緬穆虛〉接近尾聲時,流浪的緬穆虛終於得以在老醫生的家安頓下來,這名聰慧的男孩和他的教父之間可望建立親密的父子情誼。相對的,〈教母〉的故事結局則顯得淒涼悲慘,深感內疚的教子在酗酒之際終於落馬而亡,遭教子離棄的教母在心碎之餘則日益消瘦、落寞。如果說老醫生所提供的二十五元獎金幫他尋獲一名教子,那麼愛蘿迪在三更半夜找回凶刀則使她喪失了教子的愛和信任。最後,如果說緬穆虛是約翰陸易士往日情懷的化身,那麼蓋布爾則取代其父親,成為愛蘿迪表達母愛和性愛的對象。 |
英文摘要 | Both set in the town of Natchitoches, “Mamouche” and “The Godmother” deserve a close comparison because both stories treat the motifs of romantic attachment, frustrated love, and romantic displacement. Doctor John-Luis in “Mamouche” and Tante Elodie in “The Godmother” had each suffered deep frustration in love while they were young. Even though neither narrator details the romantic affair per se, the frustrated love accounts for the reason why both characters remain single. More interestingly, despite (or because of) their earlier frustration in love, both John-Luis and Tante Elodie in the fictional present displace the past romantic attachment onto the offspring of their respective love/lover. But “Mamouche” focuses on the initial formation of the old doctor’s romantic displacement, whereas “The Godmother” deals mainly with the transformation of an affectionate relationship between Elodie and her godson Gabriel in the wake of the latter’s hot-headed midnight murder and the former’s clandestine endeavors to cover up the crime. Furthermore, the difference in narrative emphasis leads to drastically dissimilar endings. Toward the end of “Mamouche,” the title character finds a new home at the old bachelor farmer’s house, and there is a promise of a close tie between the youngster and his godfather. In comparison, “The Godmother,” which is darker in tone, concludes with the death of the guilt-ridden godson and the shrivelling of the title character. While the doctor’s public offer of a 25-dollar reward helps him attain a godson, Elodie’s secret retrieval of Gabriel’s knife causes her to lose the trust and love of her godson. Finally, if Mamouche constitutes the incarnation of John-Luis’s fitful memories of the past, Gabriel serves to fulfill vicariously Elodie’s need to express her maternal and sexual love. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。