SHE THINKS, HE SAYS: THE VOICE OF THE OTHER IN NOBEL LAUREATES’ GENDERED LITERATURE

Regie Panadero Amamio
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Abstract

The gendered language system is often used in literary works to present distinct character perspectives however, the issue of representation is accentuated when a writer presents a perspective of a different gender. Kawabata Yasunari and Gabriel Garcia Marquez who depicted female perspectives in their stories, have to face the issue of reliability of representation: theirs is argued asa patriarchal perception of a female’s perspective. Employing Spivak’s argument in Can the Subaltern Speak?, this paper positioned her statement as “through the perspective of the West (men), subaltern (women) become/s dependent on them (men) to speak for their condition rather than allowing them to speak for themselves.” This paper discussed the gendered language by examining the characters’ uncertain finitude utilizing Asher-Greve’s established gender markers to identify gender associations. Withthe stories of the two Nobel Laureates, this paper has established that through exploring the narrators’ usage of gendered language, both writers have inadvertently revealed their own male biases. The narrators of both writers turned out to be the voice of the other not because they have truthfully and successfully spoken for the marginalized; instead, they have become estranged voices of the subjects they are supposed to represent.Hence, the voices that cry for connection and understanding.
他说,她认为:在诺贝尔奖得主的性别文学中,他者的声音
文学作品中经常使用性别语言系统来表现不同的人物视角,然而,当作家呈现不同性别的视角时,表征问题就更加突出了。川端康成和加夫列尔·加西亚·马尔克斯在他们的故事中描绘了女性的视角,他们不得不面对再现的可靠性问题:他们的观点被认为是父权制对女性视角的看法。引用斯皮瓦克在《庶民能说话吗?》中的论点?,这篇论文将她的陈述定位为“通过西方(男性)的视角,次等(女性)变得依赖于他们(男性)为自己的处境说话,而不是允许他们为自己说话。”本文通过考察人物的不确定有限性来探讨性别语言,并利用阿瑟-格雷夫所建立的性别标记来识别性别关联。本文以两位诺贝尔奖得主的故事为例,通过探究叙述者对性别语言的使用,两位作家都无意中暴露了自己的男性偏见。两位作家的叙述者成为了对方的代言人,并不是因为他们真实而成功地为边缘群体发声;相反,他们已经成为他们应该代表的对象的疏远的声音。因此,呼吁联系和理解的声音。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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