《紫色木槿:后殖民女性主义解读

M. Dube
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引用次数: 3

摘要

本文探讨了《紫色木槿》如何利用互文性,并在以两个兄弟姐妹为代表的神学想象背景下探讨了阶级、性别、种族、后殖民和暴力的交集,他们表达了不同的罗马天主教信仰。尤金爸爸的极端宗教信仰和暴力贯穿全书,他被描绘成一个被殖民的主体,体现了殖民历史的认识暴力。这本书的非殖民化后殖民女权主义观点最好地体现在伊菲奥玛阿姨的角色以及她作为一个非洲妇女如何表达她的基督教信仰上。然而,Ifeoma阿姨是一个善于表达的知识分子,不同地位的女性在寻求解放关系的过程中使用不同的方式来抵抗父权制和暴力,从而塑造了女权主义代理的各种表达。因此,本文探讨了性别、阶级、种族、宗教、后殖民和权力在奇曼达·恩戈齐·阿迪切的处女作《紫色木槿》中的交叉性,这部小说以尼日利亚的军事政变为政治背景。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Purple Hibiscus: A Postcolonial Feminist Reading
The article investigates how Purple Hibiscus utilizes intertextuality and explores the intersection of class, gender, race, postcoloniality and violence in a context of theological imagination represented by two siblings, who express their Roman Catholic faith differently.   The character of Papa Eugene, whose extreme religiosity and violence pervades the book, is depicted as a colonized subject, who embodies epistemic violence of a colonial past. The decolonizing postcolonial feminist perspective of the book is best modeled by the character of Aunty Ifeoma and how she expresses her Christian faith as an African woman. Whereas, Aunty Ifeoma is an articulate intellectual, women of different status are shown to use different means of resisting patriarchy and violence in the quest for liberating relationships, thereby modeling various expressions of feminist agency. This paper, therefore, explores the intersectionality of gender, class, race, religion, postcoloniality and power in Chimamanda Ngozi Adichie’s debuting novel, Purple Hibiscus set in a political context of a military coup in Nigeria.
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