伊莎贝拉·伯德《波斯与库尔德斯坦之旅》中库尔德人的东方化演绎自我

IF 0.2 3区 历史学 Q2 HISTORY
F. Ghaderi, H. Heidari
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引用次数: 0

摘要

这篇文章充实了伊莎贝拉·伯德在她的旅行记录《波斯和库尔德斯坦之旅》(1891)中表现自我的各种方式,主要是在她与库尔德人民的交往中。运用朱迪斯·巴特勒的性别表演性理论,我们认为旅行写作对伯德来说是一种赋权,因为它为她提供了一个可行的平台来表演各种自我,她可以通过这个平台表达自己复杂而微妙的社会政治观点,并提升自己的形象。此外,我们认为,伯德对库尔德人及其地区的描绘受到了当时东方主义意识形态以及她自己复杂的主体立场的影响。伯德的身份流动性,通过在她的叙述中表现出丰富多样的男性和女性自我来表现,暴露了性别的建构本质。伯德不仅破坏了她那个时代规定的性别界限,而且要求作为一名女作家,她有权在《旅程》中扮演勇敢的旅行者、知识探险家、忠诚的哈基姆、精明的政治分析家、宗教评论员和乐于接受的民族志学家。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Performing the Self through Orientalizing the Kurds in Isabella Bird’s Journeys in Persia and Kurdistan
This article fleshes out the various ways Isabella Bird performs the self in her travel account, Journeys in Persia and Kurdistan (1891), mainly in her engagement with the Kurdish people. Deploying Judith Butler’s theory of performativity of gender, we argue that travel writing is empowering for Bird because it offers her a viable platform to perform a variety of selves through which she can voice her complicated and nuanced socio-political views and promote her image. Moreover, we contend that Bird’s representation of the Kurds and their region is informed by Orientalist ideology of the time as well as her own complex subject position. The fluidity of Bird’s identity, which is represented through performing a rich diversity of masculine and feminine selves in her account, exposes the constructed nature of gender. Bird not only undermines the prescribed gender boundaries of her time, but also demands the right for herself, as a woman writer, to be both caring and daring by playing the roles of a brave traveller, intellectual explorer, devoted Hakim, shrewd political analyst, religious commentator, and receptive ethnographer in Journeys.
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CiteScore
0.50
自引率
0.00%
发文量
79
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