东方主义与性别:弗里德里克·米林根《荒野》中对东方女性的刻画

Gharbi M. Mustafa
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引用次数: 0

摘要

在爱德华·赛义德最著名的作品之一《东方主义》(1979)中,他对西方对东方的建构和认知进行了批判。它揭示了东方社区和个人是如何被西方帝国主义的权威眼光和理想所想象和重构的。赛义德解释了西方作品如何将东方描绘成一个低等的,他者,这证明了欧洲的西方力量凌驾于东方之上。将后宫描绘成充满异国情调的东方女性,是各种东方学著作中常见的比喻。本文考察了弗雷德里克·米林根的《荒野中的野生动物》(1870)中对东方女性的描绘。本文的理论框架是在东方主义话语和女性主义批评的背景下,对旅行作家对东方女性的表现进行阐述。它探讨了东方学家如何通过欲望和至上的中介来建构自己和他的主体性。本文认为,这不是一个他者的问题,而是一个西方主体在外国景观中呈现自己的观点的问题。此外,对东方女性的细致描写和对东方文化的描绘,建立了对女性的歧视和性别化的重新定位模式。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Orientalism and gender: the portrayal of the oriental women in frederick millingen’s wild life among the koords
In Orientalism (1979), one of his most prominent works, Edward Said lays out a critique of the West’s framing and perceptions of the East. It reveals how Eastern communities and individuals are being imagined and reconstructed by the authoritative gaze and ideals of Western imperialism. Said explains how Western writings represent the East as an inferior, the Other which, justifies the European Western power over the East. The depiction of the harem as exotic oriental women is a long-familiar trope found in various Orientalist writings. The paper examines the representations of Oriental women in Frederick Millingen’s Wild Life Among the Koords (1870). The theoretical framework draws on the formulation of the travel writer’s representation of Oriental women in the context of Orientalist discourse and feminist criticism. It explores how the Orientalist constitutes himself and his subjectivity through the agency of desire and supremacy. This paper argues that this is not a question of the other, but rather a question of the Western subject’s views to present his visions of himself within foreign landscapes. Moreover, the detailed description of Oriental women and the depiction of Oriental culture establish modes of reorientation where women are discriminated against and sexualized.
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