《包法利夫人》和《一生》中的女性研究

Kyong-Nyon Jine
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引用次数: 0

摘要

莫泊桑是福楼拜的弟子,福楼拜是莫泊桑叔叔的朋友。我们的主题是对两部小说《包法利夫人》和《一生》中的女主角进行研究。《包法利夫人》中的艾玛在修道院里读过浪漫小说,以为自己就是女主角。爱玛的痛苦是从她的婚姻开始的。她对婚姻感到厌倦,于是逃到了通奸的境地。她变成了一个肌肉发达的人。相反,珍妮很被动,什么也决定不了。她先是听父亲的话,后来又听丈夫的话。她因为儿子而失去了财产。最后是她的仆人罗莎莉代替她决定她的行动。她的生活充满了倦怠、绝望和梦想,十分被动和悲伤。珍妮是与埃玛和热尔瓦斯相反的反海洛因者。她的植物形象表现出被动和不动。她只是在自然界的活动主体上发生了变化。莫泊桑被认为是发展了福楼拜美学理论的作家。为什么珍妮比爱玛更被动、更保守?福楼拜所描述的资产阶级和欲望不是女性的,而是人类的。所以我认为福楼拜在文学上比莫泊桑更现代,更优秀。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
A Study on Women in Madame Bovary and A Life
Maupassant was the disciple of Flaubert, who was the friend of his uncle. Our subject is a study of heroins of two novels 'Madame Bovary' and 'A life'. Emma of 'Madame Bovary' had read the romantic novels in the abbey, and thought that herself had been the heroins. Emma's misery had begun from her marriage. She had felt ennui of marriage and fled into adultery. She had been transformed into mascular person. On the contrary, Jeanne was very passif and could decide nothing. She obeyed first to her father and then her husband. She lost the possession because of her son. Finally it was Rosalie her servant that decided her actions instead of her. She had a life very passif and sad in languor, despair and dream. Jeanne was the anti-heroin on the contrary of Emma and Gervaise. Her botanique image has shown the passivity and the immobility. She was transformed only on the actif subject in the nature. Maupassant is estimed as the writer who progressed the aesthetic theory of Flaubert. Why Jeanne was more passif and conservative than Emma? Flaubert has described the bourgeois and the desire not feminine but human. So I think that Flaubett is more modern and better than Maupassant in the literature.
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