《莳萝泡菜》的女性主义文体学Word文档格式.docx

《莳萝泡菜》的女性主义文体学Word文档格式.docx

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［Keywords］feministstylistics，transitivityanalysis，focalizationanalysis

I.Introduction

ADillPickleisaverysimplestory.Theplotisthatayoungwomanandayoungmanwhohadbeenloversoncemetagainaftersixyearsofseparation.Theysatandreminisced.

Thethemeofthestoryisabouttherelationshipbetweenlovers：

theheroine’ssensitivityandtheman’sinsensitivitytoothers—theirfeelings，attitudesandinnermotivations.

TherehavebeenmanycritiquesonADillPickleconcerningheroutstandingwritingtechniquesandmodernistartisticdevices.Andinsomerecentreviews，ADillPickleisalsoapproachedintheperspectiveoffeministliterarycriticismorpsychoanalysis.

However，thepresentstudybelievesthatthetraditionalfeministliterarycriticismmainlyconcernsthecontentanalysisoftexts，whichhascertaindegreeofsubjectivityandone-sidedness，whereasfeministstylistics，whichespeciallyemphasizesanalyzinglanguageoftextsinthecontextofproductiveandreceptiveprocess，seemstohavegreatervaluesinmakingobjectiveandpreciseanalysisofthelanguageoftexts.

Ⅱ.FeministStylistics

Feministstylisticanalysisisananalysiswhichidentifies

itselfasfeministandwhichuseslinguisticorlanguageanalysistoexaminetexts.AccordingtoSaraMills，feministstylisticsfocusesonthesolutiontotwoquestions；

thatis，whyauthorshavechosencertainwaystoexpresstheirideasongenderissues，andhowcertaineffectsrelatedtothetwosexesareachievedthroughlanguage.

TheprocedureofMills’analysisisdividedintothreelayers；

thatis，analysisattheleveloftheword；

analysisatthelevelofthephrase/sentence；

analysisatthelevelofdiscourse.

Amongthoseapproaches，transitivityanalysisatthelevelofsentenceismostinfluential.

Ⅲ.FeministStylisticAnalysisofADillPickle

3.1Analysisatthesyntaxlevel

TorevealthefeministthemeofADillPickle，thesyntacticanalysisofADillPickleiscarriedoutbyemployingthetheoryoftransitivitychoices.Transitivityanalysis“distinguishesthetypesofprocessrepresentedbytheEnglishclause，andthevariousparticipantfunctionsthatareassociatedwitheach”.Generallytherearethreeprocesses：

material，mental，andrelational.Withinmaterialactionprocess，therearetwofurtherchoicesbetweenmaterialactionintentionandmaterialactionsupervention.

ThetransitivitychoicescanhelpusunderstandthereasonbetterwhyVeraleftagainnowaftersixyears，themanisfarbetterlookingandfinanciallysecure，attractive，quiteexperienced，mature，verysophisticatedandconfident.

Examinationoftransitivityprocesseswiththemenorthewomanasactorsshowsthattherearemorecasesinwhichmenaretheactorsthanthoserelatedtothewoman（with49over30）.ThesimplecountingoftheactorsandtheiractionsshowsusthatthemandoesdomorethingsthanVera，andwecandrawtheconclusionthatthemanplaysamuchmoreactiveroleinhisrelationtoVera.

Sowehavetopursuetheanalysisfurthertocapturetherealitytheauthorwantstoshowusfromhertransitivitychoices.InthetenprocesseswithVeraastheactor，fourofthemarematerialactionintention.Asfortheothersixprocesses，twoarematerialactionsuperventionandthreearementalprocess.Andthereisonerelationalprocess，whichshowsthatVeraiscontrolledbytheman.Whileintheseventeenprocesseswiththemanastheactor，elevenarematerialactionintention.Onlythreeprocessesarematerialactionsuperventionandtheotherthreearementalprocesses.Thisfacttellsusthatalthoughinthe10processesVeraistheactorandhascertainlyplayedthemajorpart，shedoesnotalwayscarryoutthoseactionsactivelyonpurpose.Fortheman，however，heisincontroloftheseprocessesdeliberatelyexceptafewactionsaredoneunintentionally.StillthisanalysisdoesnotdemonstratethekeyrolestheVeraandthemanplayedintheirlife.

Nowletuscontinuetoinvestigatethesedata.InthefourcasesofmaterialactionintentionwithVeraastheactor，therearetwoprocesseswiththemanorhisbodypartaffected.AtoneprocessVeraaffectsherownbodypart；

Atanotherprocesssheaffectssomething.Theman，ontheotherhand，affectsVeraorherbodypartsinelevenprocesses.Sincethefactthatintheirencounter，thereareprocessesinwhichVera（orherbodypart）affectstheman（orhisbodypart），wecangetthatthetimesthatVeratakesactiveactiontothemanaremuchfewerthanthosethemandoestoVera（with49over30）.Thenwecandrawtheconclusionthatintheirmutualrelationsthemanisatthepositionofcontrollinghisex-girlfriendwhileVeraisjustapassiverecipient.

What’smore，theplotanddevelopmentofthestoryisreflectedthroughagreatnumberofconversations.Intheshortstory，theauthoruses52verbalprocessestoshowthedifferentcharacteristicsoftheheroandheroinesoastorevealthethemeofthenovel.Inthe52verbalprocesses，“he”has32processes，whichisapparentlyamuchlargerpart.Itshowsthatintheirconversation，“he”isincontroloftheprogressoftheconversation.Fromhiswords，wecaneasilyseethatheisanegoistandself-centered.Forexample，“Vera!

”heexclaimed.“Howstrange.Really，foramomentIdidn’tknowyou.Won’tyousitdown

You’vehadlunch

Won’tyouhavesomecoffee”

Attheendofthestory…“Itsimplywasthatweweresuchegoists，soself-engrossed，sowrappedupinourselvesthatwehadn’tacornerinourheartsforanybodyelse.”ThelittlehopeinVera’sheartcompletelydisappearedforheisstillsoself-engrossedashewassixyearsago.Therefore，Veralefthimdecisivelyagain，whichpushesforwardthedevelopmentofthestoryandrevealsthethemeofthestory：

Onewhocaresonlyabouthimselfdoesnotdeservethehappinessoftruelove.

3.2Analysisatthediscourselevel

Focalizationbelongstotheanalysisatthelevelofdiscourseandfreeindirectspeechisexaminedasamarkerofgenderedfocalization.KatherineMansfieldadoptsfemalefocalizationtonarratethestory，reflectingherfeministideologyinherworks.Thispartintendstoanalyzethelimitedpointofviewandfemalefocalizationadoptedbythenarratorinthenovelandtoexplorethefunctionofthisfemalenarrativestrategyintherevelationofthethemeofthenovel.

ADillPickleisnarratedfromthethirdpointofview.However，thefocalizationisnotalwaysexternaltothestory.ActuallyMansfieldusesthewayofinternalfocalizationtotellthestoryfromthefemaleperspectiveandmakesthereaderdirectlyperceivethestorythroughherideology.Soalthoughthenarratortellsthestoryfromthethirdpointofview，thereadercanstillrealizethisisthecharacter’sfeelingbecauseoftheirsimilarity.

Inthisstory，Veraisthefocalizer.Herfocaltargetsareherpastlover，theman，whomshemeetsunexpectedlyaftersixyearsandallkindsofeventsconcerningtheirconversation.Thetextseemstobenarratedbyanexternalnarrator，whiletherearepointswherethenarrativevoiceandVera’sconsciousnessseemtomerge.Throughtheuseoffreeindirectspeech，Vera’sthoughtsandthenarrator’sseemtobecomethesameasin“Incredible!

”wherethesensationsofVeraaredescribedbythenarratorinwordscouldbeVera’sownthoughts.HereMansfieldusesfreeindirectspeechtoexpressVera’sthoughts.Throughthefreeindirectspeech，theauthorshowshersympathyfortheheroineandtheironyforthemannaturallycomesintobeing，whichlaysafoundationforthereaders’emotionforthecharacters.Inthisway，thenarratoradoptsVera’svisiontofocalize，withfewcommentsandintervenesothatitleavesmuchspaceforthereadertoimagineandspeculate.

What’smore，internalfocalizationnotonlyhelpsthereaderhaveagoodunderstandingofVera’sinnerworldbutalsopushesthestoryforwardandreflectsthepersonalitiesofthecharacters.Forexample，“shewasthinkinghowwellsherememberedthattrickofhis—thetrickofinterruptingherandofhowitusedtoexasperatehersixyearsago.”Fromthiswecanseethatsixyearsagothemanwasself-centeredandinconsiderateandnowheisstilljustlikesixyearsago.FollowingVera’smemorythereadersgobacktothepastandhaveagoodunderstandingofherhesitate，melancholyanddisappointment，theyunconsciouslyshowsympathyfortheheroineandunderstandwhysheleftthemanagainaswellaswhyshedepartedsixyearsagosothattheysupportherdecision.

Ⅳ.Conclusion

Inthisthesis，thefeministthemeinADillPickleisinvestigatedwithfeministstylisticsasthetheoreticalbasistoletthereaderhaveabetterappreciationofthebasicstructureofthisstory.Specifically，feministstylisticanalysisiscarriedoutinthisstudyatthesyntaxlevelandthediscourselevel.

Throughtransitivityanalysis，wecanseeVera’sactiveactionstothemanaremuchfewerthanthoseofthemantoVera.Thisimpliesthecarefultrans