【作者】 王玮；

【导师】 张德明；

【作者基本信息】 浙江大学 ， 比较文学与世界文学， 2017， 博士

【摘要】 美国女诗人艾米莉·狄金森(Emily Dickinson,1830-1886)至今都是一个谜。她是一个“恐旷综合症患者”吗?还是被囚禁在“阁楼上的疯女人”?她到底缘何而隐居?“父亲的房屋”是她的庇护所还是监狱?她所钟爱的“花园”在这其间承担着什么样的功能?她又如何借助空间进行自我的身份界定?本论文从空间诗学的角度切入,对艾米莉·狄金森的日常生活空间、艺术创作空间以及表征她事业的重要意象“圆周”展开分析,试图探索狄金森的空间创造与其身份认同之间的关系和意义。文章主要包含九个部分:第一部分为导论。简述本论文的选题缘由,在梳理国内外研究现状的基础上提出研究思路和方法、研究目的和意义。第二、三、四、五部分分别从艾米莉·狄金森的隐居原因、房屋、花园、沼泽这三个日常生活空间、社会文化空间来探讨狄金森的身份认同问题。认为狄金森正是出于对家宅的热爱以及对于对家宅重要性的认识,选择成为家宅的守护者、继承者和修建者;“父亲的房屋”既不能说是她的监狱亦不能说是她的庇护所,更准确地说那是一个能够让她羽化成蝶的茧和怒放的球茎;“母亲的花园”则既建基于男权文化的规训又饱含着女性的生存智慧,正是借助对鲜花的喜爱、认同和沉思,她不仅维系了对自然的热爱,而且实现了对女性的改写和再定义,进而发展出一种审美的非功利的生活态度;“沼泽”是狄金森二十多岁时面临着自己的身份认同与身份建构问题所回忆起来的一个空间,它是原始混沌的表征,具有对话性和包容性,自由性和生发性,这为她建构阈限自我身份提供了启示。第六、七两部分则分别从狄金森诗歌形式以及艺术创作越界的角度进一步探讨艾米莉·狄金森的空间意识与身份认同。狄金森的艺术创作乃是她于现实生活空间之外所开辟的另一精神生活空间,她的诗歌形式具有强烈的空间化特征,而她的艺术创作则具有越界性的特点。隐藏与突围始终是艾米莉·狄金森生命中的一大重要课题。第八部分进一步从“圆周”这一表征艾米莉·狄金森事业的意象探讨艾米莉·狄金森“空间诗学”的具体内涵。认为“圆周”在狄金森的“空间诗学”中主要表征着边界存在的必要性、逾越边界的自由性、边界之内的丰富性以及实现路径的迂回性四个方面的内涵。第九部分为结语。对前述主要观点进行总结,并进一步揭示在21世纪全球化语境下研究狄金森空间思想的现实意义。更多还原

【Abstract】 American poetess,Emily Dickinson(1830-1886),has been a mystery up to now.Is she an agoraphobic?or is she "the Madwoman in the Attic"?why does she live in seclusion?Is "father’s house" a sheltered place or a jail?What role does her beloved garden play at that time?How does she define her own identity by space?Set in the social,history,cultural context,this paper starts with Emily Dickinson’s everyday space,further explores her identity and reveals the spatial character in her artistic creation.This paper mainly consists of 9 parts:Part one is introduction.The research motivation is briefly sketched.Research methodology,purposes and significance are demonstrated on the basis of the current situation of studies both at home and abroad.Part two,part three,part four,and part five discuss the issue of Dickinson’s identity from different aspects,such as the reason for Emily Dickinson’s seclusion,three everyday spaces(house,garden,swamp)and social and cultural spaces,considering that it was the love for homesteads and the realization of the importance of homesteads that made Dickinson a defender,successor and builder."Father’s house" is neither her jail nor her sheltered place,to be exactly speaking,it was a cocoon which made her a butterfly or a corm that made her burst into bloom."Mother’s garden" is based on rules of male-dominated culture as well as the survival wisdom of females.It is by means of the love,self-identity and meditation for flowers,she not only maintain her love for nature,but also realize the adaption and redefinition of women,which further develop into an aesthetic and non-utility attitude toward life.Swamp is a space recalled by Dickinson when she is facing the problems of self-identity.It is the demonstration of elemental chaos,having dialogism,containment,freedom and development,which provide inspiration for her identification.Part six and part seven further explore Emily Dickinson’s spatial awareness and identity from the standpoint of the poetic forms of Dickinson and her artistic creation of transgression.Dickinson’s artistic creation is another spiritual living space that she open up out of her real living space.Her poetic form has strong spatialized character while her artistic creation was transgression.Solitude and breakout are important issues in Emily Dickinson’s life.Part eight further discuss the concrete connotation of Emily Dickinson’s poetics of space from "circumference",an image that represent Emily Dickinson’s career,believing that "circumference" showed the necessity of the existence of borders,the freedom of crossing borders,the richness among borders and the roundabout characteristic of realizing paths,which are the core meaning in Dickinson’s "poetics of space".Part nine was conclusion.This part discuss the possible prospect of this research project on the basis of discussion mentioned in the dissertation.更多还原