分类号
密 级 UDC
STRy
学位论文
THESIS
论文
《使女的故事》女性主义解读
(中文题名)
（中文题名）
A Feminist Reading of The Handmaid s Tale
女权主义对《使女的故事》的解读
(英文题名)
（英文题名）
邴婷婷
(作者姓名)
（作者姓名）
指导教师 申请学位级别学科专业名称研究方向
论文提交日期
论文答辩日期
学位授予日期
吕丽塔副教授
硕 士
外国语言文学英美文学 2014年05月
2014年06月
答辩委员会主席:
评 阅 人:
评阅人：
北京林业大学
硕士论文同意发表的声明
研究生院:
研究生院：
本人及导师完全同意《中国优秀博硕士学位论文全文数据库出版章程》(以下简称“章程”)及我校与中国学术期刊(光盘版)电子杂志社签定的《CNKI共建共享中国优秀博硕士学位论文全文数据库(CDMD)和北京林业大学研究生院博硕士学位论文全文数据库(DMD)协议书》(以下简称“协议书”)的有关内容,愿意将本人的硕士学位论文委托研究生院向中国学术期刊(光盘版)电子杂志社的《中国优秀博硕士学位论文全文数据库》投稿。所在学科为: 英语语言文学 论文题目为:
本人及导师完全同意《中国优秀博硕士学位论文全文数据库出版章程》（以下简称“章程”）及我校与中国学术期刊（光盘版）电子杂志社签定的《CNKI共建共享中国优秀博硕士学位论文全文数据库（CDMD）和北京林业大学研究生院博硕士学位论文全文数据库（DMD）协议书》（以下简称“协议书”）的有关内容，愿意将本人的硕士学位论文委托研究生院向中国学术期刊（光盘版）电子杂志社的《中国优秀博硕士学位论文全文数据库》投稿。所在学科为： 英语语言文学论文题目为：
《使女的故事》女性主义解读 希望《中国优秀博硕士学位论文全文数据库》给予出版,并同意在《中国博硕士学位论文评价数据库》和CNKI系列数据库中使用,同意按章程和协议书规定享受相关权益。
《使女的故事》女性主义解读希望《中国优秀博硕士学位论文全文数据库》给予出版，并同意在《中国博硕士学位论文评价数据库》和CNKI系列数据库中使用，同意按章程和协议书规定享受相关权益。
作者签名:邻φ 导师签名:
作者签名：邻φ导师签名：
沁|牛年6月7日
永久联系地址(邮编):
永久联系电话:
永久联系电话：
注:《中国优秀博硕士学位论文全文数据库出版章程》可从
http://graduate.bjfu.eud.cn中学位工作/学位论文栏目下浏览
http://graduate.bjfu.eud.cn 中学位工作/学位论文栏目下浏览
本人声明所呈交的论文是我个人在导师指导下进行的研究工作及取得的研究成果。尽我所知,除了文中特别加以标注和致谢的地方外,论文中不包含其他人已经发表或撰写过的研究成果,也不包含为获得北京林业大学或其它教育机构的学位或证书而使用过的材料。与我一同工作的同志对本研究所做的任何贡献均已在论文中作了明确的说明并表示了谢意。
本人声明所呈交的论文是我个人在导师指导下进行的研究工作及取得的研究成果。尽我所知，除了文中特别加以标注和致谢的地方外，论文中不包含其他人已经发表或撰写过的研究成果，也不包含为获得北京林业大学或其它教育机构的学位或证书而使用过的材料。与我一同工作的同志对本研究所做的任何贡献均已在论文中作了明确的说明并表示了谢意。
签 名: 日 期: ∩.14、6.1t
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期: ^,/4.6.11
期： ^，/4.6.11
摘要
玛格丽特·阿特伍德是享誉全球的加拿大女作家。《使女的故事》是阿特伍德小说创作生涯中经典的女性主义作品。小说以女性题材为主,通过独特的视角,运用犀利的语言,细腻描述女性生活以及心理状态,探讨在男权制社会下处于特殊境地的女性如何改变命运,探索女性主义未来的发展道路。作品采用第一人称,运用新颖的叙事技巧,时空颠覆的手法,向读者描述了一个假想国基列国 (Gilead)中女性的生活和心理状态。
玛格丽特·阿特伍德是享誉全球的加拿大女作家。《使女的故事》是阿特伍德小说创作生涯中经典的女性主义作品。小说以女性题材为主，通过独特的视角，运用犀利的语言，细腻描述女性生活以及心理状态，探讨在男权制社会下处于特殊境地的女性如何改变命运，探索女性主义未来的发展道路。作品采用第一人称，运用新颖的叙事技巧，时空颠覆的手法，向读者描述了一个假想国基列国（Gilead）中女性的生活和心理状态。
本文以女性主义文学批评理论为基础分析了《使女的故事》。主要围绕阿特伍德与女性主义的复杂矛盾关系展开分析研究。本论文深入探讨基列共和国中占统治地位的男性一大主教们对女性一使女们的压迫,以此反映女性深受“男权制”社会统治的压迫,被迫陷入了作为“会行走的生育工具”的悲惨境地。第一章是对于全文的导论,简要介绍玛格丽特·阿特伍德的生平、获奖情况、及其作品中展现的多重主题,并概述了《使女的故事》的故事梗概,同时分析国外学者对阿特伍德作品的研究现状,进而指出本论文的写作目的和意义。第二章具体论述了小说中女性主义思想的体现。三、四章是文章的主体部分,从女性主义理论分析阿特伍德与女性主义的复杂矛盾关系,以及作者对于女权主义未来发展道路的担忧和憧憬的具体体现。同时,本文通过部分章节将小说的语言,与电影进行了比较:小说和电影都体现着男性社会的集权统治对于女性及社会的危害。然而,电影在改编的时候也更多地注重了情节的表达、叙事的流畅性以及作为观影大众群体在欣赏作品时所寻求的观影的刺激感。除此之外,电影虽然改变了叙事手法,但还是秉承了小说的主旨,隐晦地表达并折射出了阿特伍德的女性主义文学思想。第五章为结论部分,呼吁大家——女性主义在寻求女性自由发展的道路上应该考虑选择其他的方法。
关键词:女性主义,基列国,女权主义运动,玛格丽特·阿特伍德
关键词女性主义基列国女权主义运动玛格丽特阿特伍德
抽象
Fe minist Reading of The Handmaid's Tale
Feminist 《使女的故事》朗诵
Master Candidate:Bing Tingting (English Language and Literature) Directed by Associate Professor: Lv Lita
硕士研究生：Bing Tingting （英语语言文学） 指导：吕丽塔
ABSTRACT
抽象
The Handmaid's Tale,a masterpiece of Margaret Eleanor Atwood,a world-renowned
《使女的故事》是世界知名的玛格丽特·埃莉诺·阿特伍德 （Margaret Eleanor Atwood） 的杰作
Canadian female writer,is eonsidered as a classic feminism work in the literary world.Conceived on the theme of feminism from a unique perspective,the fiction has exquisitely described the life and metal status of the female in sharp language, discussed how to change the fate of women in a
加拿大女作家，被誉为文坛经典的女权主义作品。小说以独特的视角构思女性主义为主题，以犀利的语言精炼地描写了女性的生活和金属地位，探讨了如何改变女性的命运。
patriarchal society, and explored future ways of development for feminism.In the fiction,the
父权社会，并探索了女权主义的未来发展方式。在小说中，
writer adopted first person narrative technique, innovative narrativeskills and spatiotemporal
作家采用第一人称叙事手法，创新叙事手法和时空手法
subversion tactics,to portray the life and psychological status of the women in Gilead, a
颠覆策略，描绘基列妇女的生活和心理地位，a
hypothetical country created by the writer.
作者创建的假设国家。
In this thesis,the author focused on thecomplicated relationship between Atwood and feminism and analyzed The Handmaid's Tale with feminism literary critique theories.The author deeply explored the oppression suffered by the female characters,the handmaids,from the ruling male,the archbishops,in the fiction and thus refleeted the miserable conditions of women as “walking reproductive tools"in a male-dominating world.The first chapter is the introductory part of the thesis,briefing the life story of Atwood and introducing the basic story line of The Handmaid Tale.The author also inserted in this part the current researches and studies carried out
在这篇论文中，作者着重探讨了阿特伍德与女权主义之间的复杂关系，并用女权主义文学批评理论分析了《使女的故事》。作者在小说中深入探讨了女性角色、女仆、统治男性、大主教所遭受的压迫，从而重新诠释了女性作为男性主导世界中“行走的生殖工具”的悲惨状况。第一章是论文的导言部分，简要介绍了阿特伍德的生平故事，并介绍了《使女的故事》的基本故事情节。
on the works of Atwood to further clarify the writing purposes and meanings of this thesis.The second chapter diseussed in detail the feminist thoughts embodied in the fiction.And in the third and fourth chapters, which are the main body parts of this thesis,the author analyzed the
关于阿特伍德的作品，以进一步阐明本论文的写作目的和含义。第二章详细阐述了小说中体现的女权主义思想。在 第三章和第四章中，也就是本论文的主体部分，作者分析了
complicated and contradictory relationship between Atwood and feminism and pointed out the
阿特伍德与女权主义之间复杂而矛盾的关系，并指出了
concrete reasons for the worries and hopes that the author beholds to the future development of
具体原因 希望笔者对未来发展抱有希望
feminism.Meanwhile,the author also introdueed into the thesis the film version of the fiction and
女权主义。同时，作者还将小说的电影版引入论文中。
compared the language used in certain chapters of the fietion with that of the film, intended to
将Fietion某些章节中使用的语言与电影中使用的语言进行比较，旨在
Contents | |||
Contents | |||
摘要 | V | ||
ABSTRACT | |||
Contents | |||
Chapter One Introduction. | |||
1.1 ABrief Introduction to Margaret Atwood and The Handmaid | s | Tale | |
1.2 Literature Review | 2 | ||
1.2.1 Current Research on Margaret Atwood | 2 | ||
1.2.2 Research on The Handmaids Tale. | 4 | ||
1.3 Female Identity in Margaret Atwood's fiction | 6 | ||
Chapter Two Embodiment of Feminism in The Handmaid s Tale | |||
2.1 Feminist Politics and Popular Fiction | 9 | ||
2.2 Feminist Anti-Utopia | 10 | ||
2.3 Women in Gilead | 1 | ||
2.4“Considering the Alternatives”. | 12 | ||
Chapter Three Feminism and Ambivalence inThe Handmaid's Tale | 15 | ||
3.1 Language and Feminist Theory. | 16 | ||
3.1.1 Pre-Oedipal Language in the Feminist Theory | 16 | ||
3.1.2 The Power of Language in Gilead | 19 | ||
3.1.3 The Feminine Language in The Handmaid's Tale | 22 | ||
3.2 Allude to Contemporary Feminism | 24 | ||
Chapter Four Critiquing Cultural Feminism | 29 | ||
4.1 Cultural Feminism | 29 | ||
4.2 Antagonism from female | 30 | ||
4.3 Recuperating Romance in the Feminist Writing | 33 | ||
4.4 The | Reflection of | Feminism | in | the | Movie | The | Handmaid | s | Tale | 35 |
Chapter Five | Conc lusion | 43 | ||||||||
References | 46 | |||||||||
个人简介… | 49 | |||||||||
导师简介 | 50 |
获得成果目录清单. 51
Acknowledgements 52
鸣谢52
V
章 One
一 lntroduction
产品介绍
Chapter One Introduction
第一章引言
A Brief Introduction to Margaret Atwood and The Handmaid's
玛格丽特·阿特伍德（Margaret Atwood） 和《使女》简介
Tale
故事
Margaret Eleanor Atwood is the Canadian writer who can, most unequivocally, be named as a literary eelebrity.For more than 50 years,Margaret Atwood has been a published author, well known for the intricacies of her poetry,the power of her fiction and the illumination of her literary criticism.Atwood has won more than 55 awards in Canada and internationally, including two Governor General's Awards:she won the Go vernor-General's Award in 1966 for her second volume of poems The Circle Game (1964);a Booker Prize in 2000 for The Blind Assassin;the Giller Prize for Alias
玛格丽特·埃莉诺·阿特伍德 （Margaret Eleanor Atwood） 是加拿大作家，毫无疑问，她可以被称为文学名人。50多年来，玛格丽特·阿特伍德 （Margaret Atwood） 一直是一位出版作家，以其诗歌的复杂性、小说的力量和文学批评的启发性而闻名。阿特伍德在加拿大和国际上赢得了超过55 个奖项，包括两个总督奖：她于 1966年凭借第二本诗集《圆圈游戏》获得 Governor-General'sAward（1964 年）;2000年凭借《盲人刺客》获得布克奖;Giller别名奖
Grace;the Arts Council Wales International Writers Prize for Bodily Harm in 1982; the Nobel Prize for Literature in 2003,and many other awards and prizes. Graham Huggan devotes a chapter of his book The Post-colonial Exotie to what he calls “Margaret Atwood,Inc.”the Atwood industry, and there he offers several
恩典;1982 年威尔士艺术委员会国际作家人身伤害奖;2003 年诺贝尔文学奖等多项奖项。 格雷厄姆·哈根 （Graham Huggan） 在他的书《后殖民异国情调》中用一章来描述他所谓的“玛格丽特·阿特伍德公司”。阿特伍德工业，在那里他提供了几个
explanations for her remarkable success: first and foremost, hard work and
她取得显著成功的解释：首先，努力工作和
productivity;her ability to funetion as a spokeswoman on a wide range of topics both literary and political;the multiplication of her publie roles as a writer,feminist,poet, novelist,literary critic,essayist,nationalist and environmentalist.
生产力;她作为女发言人在文学和政治广泛话题上的能力;她作为作家、女权主义者、诗人、小说家、文学评论家、散文家、民族主义者和环保主义者的公共角色成倍增加。
As her reputation has grown steadily in international circles,she has produced
随着她在国际圈子里的声誉稳步增长，她制作了
more than 40 books that have been translated into no lessthan 20 languages. The book that I will endeavor to analyze is The Handmaid's Tale.This is Atwood's first best-selling novel,establishing her reputation in the US and internationally which won the 1985 Governor Generals Award and the first Arthur C.Clarke Award in 1987; it was also nominated for the 1986 Nebula Award,the 1986 Booker Prize and the
40 多本书已被翻译成不少于20 种语言。 我将努力分析的书是《使女的故事》.这是阿特伍德的第一部畅销小说，在美国和国际上建立了她的声誉，获得了 1985 年总督奖和 1987 年的第一届亚瑟 C.克拉克奖; 它还获得了 1986 年星云奖、1986 年布克奖和
1987 Prometheus Award.It has been adapted for the cinema,radio,opera and stage.
1987 普罗米修斯Award.It被改编成电影、广播、歌剧和舞台剧。
In the fiction,the writer uses the first person narrative situation, prolepsis and
在小说中，作者使用了第一人称叙述情境、prolepsis和
analepsis,and some other innovative teehniques to portray the life and psychological
analepsis，以及其他一些创新的teehniques来描绘生活和心理
Graham Huggan,The Post-colonial Exotic:Marketing the Margins (London:Routledge,2001),208.
格雷厄姆·哈根，《后殖民异国情调：边缘营销》（伦敦：劳特利奇出版社，2001），第208页。
1
女权主义对《使女》的解读Tale
故事
states of the women who are living in Gilead,a hypothetical country, reflecting the oppression of these women by men in a male-dominating world and their subsequently miserable condition to be"walking reproductive tools".
生活在基列国（一个假想的国家）的妇女的状况，反映了这些妇女在一个男性主导的世界中被男人压迫，以及她们随后的悲惨状况，即“行走生殖工具”。
As for the relation that Atwood has with Feminism,it is quite eomplicated and full of contradiction.On one hand,she is active in the in-depth study of the thoughts of Feminism; on the other hand,she criticizes the close combination between
至于阿特伍德与女权主义的关系，则相当复杂且充满矛盾。一方面，她积极深入研究女权主义思想;另一方面，她批评了两者之间的紧密结合
Feminism and political movements. Margaret believes that some extreme thoughts
女权主义和政治运动。玛格丽特认为一些极端的想法
about Feminism that are taken advantage of have actually resulted in sabotaging the
关于被利用的女权主义实际上导致了对
real liberty of women. Many radical opinions proposed during the second feminist
妇女的真正自由。第二位女权主义者期间提出的许多激进观点
movement in North America are described in The Handmaid's Tale,which actually refleets Margaret's hopes and fears about the future development of feminism.In the fiction,theexploited and controlled women, in their quest for liberation through resistance and fights for their various rights in Gilead,a patriarehal society,result in a
《使女的故事》中描述了北美的运动，它实际上重新反映了玛格丽特对女性主义未来发展的希望和恐惧。在小说中，被剥削和控制 的妇女，在父权社会基列社会中通过抵抗和争取各种权利来寻求解放和斗争，导致了
series of sharp conflicts with the male go vernors in the country,which indicates the tension thus caused due to the extremity in the seeond feminist mo vement.The writer also calls on the public,through the main character in the fiction, to consider other
与国内男性的一系列尖锐冲突，表明了由于女权主义运动的极端性而造成的紧张。作者还呼吁公众，通过小说中的主角，考虑其他
ways of development in pursuing the liberty of women,which is the main direction of study of this thesis.Meanwhile,the author of this thesis compares some chaptersof the original fiction with the movie adaptation to deepen the analysis of the harm caused by male domination over women in the society.Although the movie lays more emphasis on the plots,the fluency of the narration,and the sensory excitement for audience,it still conveys, in a quite implicit way, the same feministthoughts contained in the fiction.
追求女性自由的发展方式，是本论文的主要研究方向。同时，本论文作者将原著小说的部分章节与电影改编进行了比较，以加深对男性对女性统治在社会中造成的伤害的分析。尽管这部电影更强调情节、叙述的流畅性和观众的感官刺激，但它仍然以 一种相当隐晦的方式传达了小说中包含的同样的女权主义思想。
Literature Review
文献综述
Current Research on Margaret Atwood
玛格丽特·阿特伍德的最新研究
There is a huge international Atwood academic critical industry, and the Margaret Atwood Society Newsletter pub lishes annual updates of scholarly works on Atwood articles and books which are over 50 per year. Most of research emerges
阿 特伍德 有一个庞大的国际学术批评行业，玛格丽特·阿特伍德协会通讯每年发布 50 多篇关于阿特伍德文章和书籍的学术著作的年度更新。大多数研究成果
overwhelmingly through the multiplicity of Atwood's voices and personas and her
压倒性地通过阿特伍德的声音和角色的多样性以及她的
2
章 One
一 Introduction
介绍
formalexperiments with languages and literary conventions are the continuities across
语言和文学惯例的形式实验是
four decades of her writing. Most of the topics have been explored before by many researchers. However, exploring these same topics from different critical and theoretical angles (e.g. recent emphases on postmodernism, post colonialism and environmentalism) and in the light of Atwood's own continuous production may help
她四十年的写作。大多数主题之前已经被许多研究人员探索过。然而， 从不同的批判和理论角度（例如，最近对后现代主义、后殖民主义和环保主义的强调）以及根据阿特伍德自己的连续生产可能会有所帮助
to reevaluate the dynamics of her works.
重新评估她作品的动态。
Some researchers sets out the major themes of her writing which are grounded in her Canadian context, like her fascination with the Canadian history and landscape, but which overforty years have broadened into topics of international relevance with her scrutiny of cultural myths about women, her concern with human rights and
一些研究人员列出了她作品的主要主题，这些主题以 她的加拿大背景为基础，例如她对加拿大历史和景观的迷恋，但四十年来，随着她对女性文化神话的审视，这些主题已经扩大到具有国际意义的话题，她的关注与人权和
threats to the environment and her strong sense of moral responsibility in an
对环境的威胁和她强烈的道德责任感
increasingly globalized context of reference.Lorraine York analyzes the ongoing
日益全球化的参考上下文。LorraineYork分析正在进行的
interrelation between media construetions of Atwood and her own active intervention
媒体对阿特伍德的解读与她自己的积极干预之间的相互关系
in those constructions through her deprecating self-irony and humor in her essays². Robin Wood analyzesthe treatment of national and sexua power politics in her early poems and novels,tracing the topic as it expands into national and international dimensions in her later works.3 David Edelstein also focuses on sexual power politics
通过她在散文中嘲讽的自我讽刺和幽默²， 在这些结构中。罗宾·伍德 （Robin Wood） 在她的早期诗歌和小说中分析了对国家和性权力政治的处理，并在她后来的作品中追溯了这一主题扩展到国内和国际维度。大卫·埃德尔斯坦 （David Edelstein） 也关注性权力政治
with a specifically feminist emphasis on Atwood's representation of female bodies.f
特别强调女权主义对阿特伍德对女性身体的再现。
Shannon Hengen explores Atwood's environmental ethics and the evolution of her ideas about what"being human"means³.Her broadly ranging analysis argues for Atwood's insistence on the symbiotie relation between human and non-human nature,
ShannonHengen探讨了Atwood 的环境伦理学以及她关于“作为人类”意味着什么的思想的演变³。她广泛的分析证明了 阿特伍德对人性和非人性之间共生关系的坚持。
as she spells out the vital connection between seienee and art in defining the position of human beings as the nexus of nature and culture.Rene Denfe ld discusses Atwood's postmodern versions of Canadian history. 6 Marta Dvorak offers a fascinating
正如她阐明了 Seienee 和艺术之间的重要联系，以定义人类作为自然和文化纽带的地位。ReneDenfe ld 讨论了阿特伍德对加拿大历史的后现代版本。6玛尔塔·德沃夏克 （Marta Dvorak） 提供了一个引人入胜的
2 Lorraine York,"Satire:The No-Woman`s Land of Literary Modes,"Teaching Atwoods"The Handmaids Tale" and Oiher Works,eds. Sharon R.Wilson, Thomas B.Friedman, and Shannon Hengen(New York:Modern Lan guage Association ofAmerica,1996),48.
2 洛林·约克，“讽刺：文学模式的无女人之地”，“教阿特伍德”使女的故事“和OiherWorks，编辑。SharonR.Wilson、ThomasB.Friedman 和ShannonHengen（纽约：美国现代语言协会，1996 年），48。
3 Robin Wood,*Images and Women,"Issues in Feminist Fietional Critieism,ed.Patricia Erens (Bloomington:
3罗宾·伍德，*图像与女性，“女权主义信仰批判主义的问题”，编辑。帕特里夏·埃伦斯（布卢明顿：
Indiana University Press,1990)377.ltalics in original.
印第安纳大学出版社，1990）377.原文。
4 David Edelstein,Feminist Voice 23 June 1987, in Fictiona1 Review Annual 1988,ed.Jerome S. Ozer
4大卫·埃德尔斯坦，《女权主义之声》，1987 年 6 月23 日，载于Fictiona1ReviewAnnual1988，编辑。杰罗姆·奥泽
(Englewood,NJ:Fietional review Publications)1676.
（新泽西州恩格尔伍德：FietionalreviewPublications）1676 年。
Shannon Hengen,in SarahA.Appleton(ed.)Once Upon a Time:Myth,Fairy Tales and Legends in Margaret
香农·亨根，SarahA.Appleton（ed.）《从前：玛格丽特的神话、童话和传说》
Atwoods Writings (Newcastle:Cambridge Scholars Publishing 2008),48.
AtwoodsWritings（纽卡斯尔：剑桥学者出版社2008），48。
6 Rene Denfeld,The New Victorians:A Young WomansChallenge io the Old Feminisi Order (New York:Simon
6雷内·丹菲尔德（Rene Denfeld），《新维多利亚时代：一位年轻女性挑战旧女性秩序》（纽约：西蒙
&Schuster,1995).
&Schuster，1995 年）。
3
女权扩张论者 Reading
读数 of
之 The
这 Handmaid
婢女 s Tale
故事
rhetorical analysis of her skillful use of irony and satire 7.Judith McCombs's anthology,Critical Essays on Margaret Atwood(1988)provides an extremely useful analysis of critical trends and a summary of debates around Atwood's major texts to
对她娴熟地使用反讽和讽刺的修辞分析7.朱迪思·麦库姆斯 （Judith McCombs） 的选集《关于玛格丽特·阿特伍德的批判性论文》（Critical Essays on Margaret Atwood，1988 年）对批评趋势进行了极其有用的分析，并总结了围绕阿特伍德主要文本的辩论，以
date.8 Margaret Atwood:Vision and Forms,edited by Kathryn Van Spanckeren and Jangarden Castro and pub lished at the end of1988,traces Atwood's feminism and her postmodern narrative experiments.°
date.8玛格丽特·阿特伍德：视觉与形式，由凯瑟琳·范·斯潘克伦和扬加登·卡斯特罗编辑，于 1988 年底出版，追溯了阿特伍德的女权主义和她的后现代叙事实验。
Research on The Handmaid s Tale
《使女的故事》研究
The Handmaids Tale is told from the point of view of Offred,a handmaid or fertile woman in the service ofFred,one ofthe Commanders who rule the Republic of Gilead with military power. Since Offred is meant to be silent, her keeping a journal is forbidden,but her story is passed down to a future readership and to us,
使女的故事是从奥弗雷德的角度讲述的，奥弗雷德是一名女仆或有生育能力的女人，为弗雷德服务，弗雷德是以军事力量统治基列共和国的指挥官之一。 因为 Offred 本来就是要保持沉默的，所以她写日记是被禁止的，但她的故事被传递给了未来的读者群和我们，
from transeribed recordings.The narrative itself operates in three main time periods: first,the period of second-wave feminism,that of Offred's youth and her mother's activist involvement; second,Offred's own lifetime,in post-holocaust Gilead,the main substance ofthe novel;while a third period is when Offied's tapes and personal testimony are discovered and put under academic scrutiny by Professor Pieixoto, which serves as an example of male intellectualcontrol over history.
来自Transeribed 录音。叙事本身在三个主要时期运作：第一，第二波女权主义时期，奥弗雷德的青年时期和她母亲的活动家参与; 第二，奥弗雷德自己的一生，在大屠杀后的基列，小说的主要内容;而第三个时期是 Offied 的录音带和个人证词被发现并接受Pieixoto 教授的学术审查，这是男性知识分子控制历史的一个例子。
The novel is composed of 15 sections, with 1 additional section entitled
小说由15个部分组成，其中1 个额外的部分标题为
“Historical Notes.³Seetions,with only one exception,alternate between deseriptions of night and daytime.Consequently, odd-numbered sections (parts 1,3,7,9,13 and 15)bear the same title:Night”The one exeeption is part 5,entitled‘Nap,"which separates sections describing one longand particularly traumatic day.
“历史笔记。³除了一个例外，在黑夜和白天的描述之间交替。因此，奇数部分（第 1、3、7、9、13 和 15 部分）具有相同的标题：夜“一个摘录是第 5 部分，标题为”午睡“，它分隔了描述漫长而特别痛苦的一天的部分。
The novel differs from Atwood's previous and subsequent works which are
这部小说与阿特伍德之前和后续的作品不同，后者是
usually set in contemporary Canada,except insofar as it deals with male and female
通常以当代加拿大为背景，除非它涉及男性和女性
relationships of power,a common theme,particularly in the immediately preceding
权力关系，一个共同的主题，尤其是在紧接着的
7 Marta Dvorak,"Margaret Atwood's Humor³,inCoral Ann Howells(ed.),The Cambridge Companion to
7玛尔塔·德沃夏克，“玛格丽特·阿特伍德的幽默³”，收录于科勒尔·安·豪威尔斯（编），《剑桥伴侣》
Margaret Atwood(Cambridge:Cambridge University Press,2006),123.
玛格丽特·阿特伍德（剑桥：剑桥大学出版社，2006），123。
8 Judith McCombs,*Control and Creativity:The Politics of Risk in Margaret Atwood's The Handmaids Tale,"
8朱迪思·麦库姆斯，*控制与创造力：玛格丽特·阿特伍德的《使女的故事》中的风险政治，”
Critical Essays on Margaret Atwood,ed.(Boston:G.K.Hall&Co,1988)285.
关于玛格丽特·阿特伍德的评论论文，编辑（波士顿：G.K.Hall&Co，1988）285。
9 Arnold E.Davidson,“Future Tense:Making History in The Handmaids Tale,"Margaret Atwood:Vision and Forms,ed.Kathryn VanSpanckeren and Jan Garden Castro (Carbondale,IL:Southern Illinois University Press, 1988)119.
9 阿诺德·戴维森（Arnold E.Davidson），“将来时：在《使女的故事》中创造历史”，玛格丽特·阿特伍德：《视觉与形式》（Margaret Atwood：Vision and Forms），编辑。凯瑟琳·范斯潘克伦和扬·加登·卡斯特罗（伊利诺伊州卡本代尔：南伊利诺伊大学出版社，1988 年）119。
4
章 One
一 Introduction
介绍
Bodily Harm(1981).The Handmaids Tale has been widely studied and was turned into a highly suceessful film(screenplay by Harold Pinter,1990).It is seen,variously, as a science fiction and dystopia which focuses on a religious fundamentalist regime.
身体伤害 （1981）。《使女的故事》被广泛研究，并被改编成一部非常成功的电影（哈罗德·品特编剧，1990 年）。它被看作是一部专注于宗教原教旨主义政权的科幻小说和反乌托邦小说。
It dramatizes the destructive nature of fundamentalist regimes,and their controls over language.Since the story of Offred is our insight into these problematic times,it also illustrates the power of narrative and the strength of individual self.
它戏剧化地展示了原教旨主义政权的破坏性及其对语言的控制。由于Offred 的故事是我们洞察这些充满问题的时间，它也说明了叙事的力量和个人自我的力量。
The Handmaid's Tale can be read in several ways, each related to the themes running throughout Atwood's work.It is satires that eontain humor,and through that perhaps some vision,some hope,when wondering about how likely this dystopia is to become a reality.It questionshistories and the ways in which we construct them.And it is also a powerful feminist critique of a potential future where women's freedoms
《使女的故事》可以用多种方式来解读，每种方式都与贯穿阿特伍德作品的主题有关。讽刺是永恒的幽默，也许通过它，当想知道这个反乌托邦有多大可能成为现实时，一些愿景，一些希望。它质疑历史以及我们构建历史的方式。这也是对女性自由的潜在未来的有力女权主义批评
are entirely eroded,but it also challenges and undermines many of the more rigid
完全被侵蚀，但它也挑战和破坏了许多更僵化的
tenets of feminism,showing the views of second-wave feminism to be both insightful
女性主义的信条，表明第二波女性主义的观点既有洞察力
inplaces and limited.As a favorite of feminist critics,it pro vides an exploration of reproductive technologies and the ways in which language operates as power to repress self,eontrol sexuality and limit freedoms.
在地方和有限。作为女权主义批评家的最爱，它提供了对生殖技术以及语言作为压抑自我、控制性和限制自由的力量运作方式的探索。
Many of the early reviews established a popular reading of the novel as a feminist text that debates issues of reproductive technology and women's roles.They also deal with it as a novel that explores the act of writing reading and interpretation.
许多早期的评论将这部小说确立为一种流行的解读，将其视为 辩论生殖技术和女性角色问题的女权主义文本。他们还将其作为一部探索写作、阅读和解释行为的小说来处理。
It highlights Offred's(the handmaid)role as narrator constructing a tale set in the context of power over expression, which prevents free speech among the handmaidens and everyone else,and various contradictions playing on language or enforced silenee.Much critical writing about the novel relates Atwood's work to
它突出了奥弗雷德（女仆）作为叙述者的角色，在 表达权力的背景下构建了一个故事，这阻止了女仆和其他所有人之间的言论自由，以及各种关于语言或强制 silenee 的矛盾。许多关于这部小说的批评性著作都与阿特伍德的作品有关
feminist critique of reproductive technology.Other issues ofconcern are the reliability
女权主义对生殖技术的批评。其他值得关注的问题是可靠性
of narrative,the partiality of record,and the importance of being able to develop and express an individual subjectivity 10.Mary McCarthy identifies Gilead as a woman's world, ironically policed by men. Lorna Sage recognizes Atwood's critique of American values, seen earlier in Surfacing, and considers Atwood's Republic of
叙事、记录的片面性以及能够发展和表达个人主观性的重要性 10.玛丽·麦卡锡（Mary McCarthy）将基列国视为女性的世界，具有讽刺意味的是，基列由男性监管。Lorna Sage 认识到阿特伍德对美国价值观的批评，这在 Surfacing 前面看到过，并认为阿特伍德的共和国
10 Mary McCarthy,Review,Book Review,9 February 1986.
10玛丽·麦卡锡，评论，书评，1986 年 2 月 9 日。
5
女权扩张论者 Reading
读数 of
之 The
这 Handmaid
婢女 s Tale
故事
Gilead as Middle America undermined by fanaticism,fuelled by fundamentalism". Kate Fullbrook explores how The Handmaid's Tale functions as a dystopian feminist novell²,recognizing it as a version ofseience fiction,as does Cathy Davidsonl³.Jane Brooks Bouson sees the novel as a feminist dystopia containing a warning against a feminist back lash and the rise of the New Right, which in the 1980s sought the
基列是被狂热主义破坏，被原教旨主义助长的中美洲”。 凯特·布鲁克 （Kate Fullbrook） 探讨了《使女的故事》如何作为反乌托邦女权主义小说²发挥作用，认为它是小说的一个版本，凯茜·戴维森 （Cathy Davidsonl） 也是如此。
restoration of women's traditional roles 14 Brooks Bouson also considers the
恢复女性的传统角色14BrooksBouson还考虑了
importance of language as a regular in these oppressive times.Through exploring problematical notions of history and reality,the no velencourages readers to reflect on the oppressive realities of contemporary patriarchal ideology, employing tactics to
在这个压迫时期，语言作为常规的重要性。通过对历史和现实的质疑性观念的探索，《无》鼓励读者反思 当代父权意识形态的压迫现实，采用策略
counter and challenge assumptions of male power and superiority.Critics debate the
对抗和挑战男性权力和优越感的假设。批评者对
way in whieh Atwood deals with issues alive for feminism.She shows how language can warp the way we see the world,exposing the potential for a regime to subject men and women to horrifying silences and destructive mindsets.Therefore,the novel is both anti-utopian fiction,a satire of a potential future and a feminist challenge to the forms of dystopian fictions which foeus on maseuline worldviews.
方式 atwood 处理女权主义的活生生的问题。她展示了语言如何扭曲我们看待世界的方式，揭露了一个政权使男人和女人遭受可怕的沉默和破坏性心态的可能性。因此，这部小说既是反乌托邦小说，也是对潜在未来的讽刺，也是对反乌托邦小说形式的女权主义挑战，这些小说与马塞林世界观相悖。
Female Identity in Margaret Atwood's fiction
玛格丽特·阿特伍德小说中的女性身份
Considering this inherently sexist construction of gender,it is no surprise that the body is central to feminist debate.Margaret Sanger wrote in 1922 that“no woman can call herself free who does not own and control her own body.It is for women the
考虑到这种固有的性别歧视建构， 身体成为女权主义辩论的核心也就不足为奇了。玛格丽特·桑格 （Margaret Sanger） 在 1922 年写道：“不拥有和控制自己身体的女人，任何女人都不能称自己为自由。它是为女性准备的
key to liberty".l5 The female body,as a site of identity,has always been the means by
自由的钥匙“.l5女性身体作为身份的场所，一直是
which patriarchy exerts control over women. Atwood is concerned with the situations women find themselves in and draws her writing materials from them.As mentioned above,it is explicitly re vealed in her writings that she is especially interested in one significant problem the issue of female identity in the modern world.Critics tended
父权制对女性施加控制。阿特伍德关注女性所处的处境，并从中汲取她的写作材料。如上所述，在她的著作中明确指出，她对一个重大问题特别感兴趣，即现代世界的女性身份问题。批评者往往
Lorna Sage,“Projections fromA Messy Present".Times Literary Supplement,21 March 1986,307.
LornaSage，“来自凌乱的现在的投影”。泰晤士报文学副刊，1986年 3 月 21 日，307。
12 Kate Fullbrook,Free Women: Ethics and Aesthetics in Twentieth-Century Womens Fiction(Hemel Hempstead:
12凯特·福尔布鲁克，《自由女性：二十世纪女性小说中的伦理与美学》（赫默尔·亨普斯特德：
Harvester Wheatsheaf,1990).
HarvesterWheatsheaf，1990 年）。
13 Cathy N.Davidson,“A Feminist 1984:Margaret Atwood Talks about Her Exciting New Novel",Ms,14
13凯茜·戴维森（Cathy N.Davidson），“女权主义者1984：玛格丽特·阿特伍德（Margaret Atwood）谈论她激动人心的新小说”，女士，14
February 1986,135.
1986 年 2 月，135。
14 Jane Brooks Bouson,BrutalChoreographies:Oppositional Strategies and Narrative Design in the Novels of
14简·布鲁克斯·鲍森（Jane Brooks Bouson），《野蛮的编舞：小说中的对立策略与叙事设计》（BrutalChoreographyies：The CounterpositionalStrategiesandNarrativeDesign in theNovelsof
Margaret Atwood(Amherst,MA:The University ofMassachusetts Press,1993),135.
玛格丽特·阿特伍德（阿默斯特，马萨诸塞州：马萨诸塞大学出版社，1993），135。
Margaret Sanger provides a framework for understanding the female identity in The Less Noble Sex:Scientific,
玛格丽特·桑格 （MargaretSanger） 在《不那么高贵的性别：科学》中提供了一个理解女性身份的框架，
Religious,and Philosophical Conceptions of Womans Nature(Bloomington:Indiana University Press,1993).247.
女性自然的宗教和哲学概念（布卢明顿：印第安纳大学出版社，1993 年）.247。
6
章 One
一 Introduction
介绍
to declare “nothing can diminish Margaret Atweod's standing as one of the most accomplished literary stylists that Canada has produced"l6.And interpretation began with recognition of therelevance of the real world to Atwood's fictional worlds.In
宣称“没有什么能削弱玛格丽特·阿特维德作为加拿大培养的最有成就的文学文体家之一的地位”l6。解释 始于认识到现实世界与阿特伍德的虚构世界的相关性。在
1986,Margaret Laurence claimed that Atwood 's novel,The Handmaid s Tale,dealt with such important themes as"the nature of reality,"citing the narrator's questions about"what is real and where can she find some core reality within herself?*17 Laurence's vie w says as much about her own mission as a writer as it does about The Handmaids Tale,sinee the conviction that Atwood's narrator is searching for a"core
1986 年，玛格丽特·劳伦斯 （Margaret Laurence） 声称阿特伍德的小说《使女的故事》涉及“现实的本质”等重要主题，并引用了叙述者关于“什么是真实以及她在哪里可以找到自己内心的一些核心现实”的问题。17 劳伦斯的view也说明了她自己的作为作家的使命，就像它对《使女的故事》所做的那样，坚信阿特伍德的叙述者正在寻找一个“核心”
reality within herself³implies that such a thing exists and that she has hoped that it would be found.Appreciation of Atwood's depiction of ordinary people dealing with conflicts that are rooted in the real world connects her work to the dominant issues of
她内心的现实意味着这样的东西存在，她希望它能被找到。阿特伍德对普通人处理植根于现实世界的冲突的描绘的赞赏将她的作品与以下主要问题联系起来
the day.Atwood's protagonists were as often seen as supporting stances taken by the contemporary Women's Liberation Movement that in some circles her novels were thought to lend themselves to propaganda as"a kind of journalistic reduction to a crusading work for the rights of women"18 Atwood offered explanations of what being Canadian meant to ordinary readers who were struggling with these issues in
那一天。阿特伍德的主人公经常被视为支持当代妇女解放运动所采取的立场，以至于在某些圈子里，她的小说被认为适合于宣传，是“一种新闻简化为妇女权利的十字军东征工作”18。阿特伍德解释了加拿大人对普通读者的意义谁正在努力解决这些问题
the social world.In this century,the world is altering form day to day, so women's
社交世界。在这个世纪，世界每天都在改变着形态，因此女性的
role is constantly changing Many women have proved awkward in adapting
角色不断变化许多女性在适应方面被证明是尴尬的
themselves to their new roles and positions,and thus come across various identity crises.Atwood describes the socialproblem of female identity in her novels,initiating dramatic scenes and keen insights.It provides a specific deseription and analysis on a
自己到新的角色与位置，也因此遭遇各种身份危机。阿特伍德在她的小说中描述了女性身份的社会问题，开创了戏剧性的场景和敏锐的洞察力。它提供了对
specificaspect of this problem The characters and plots were often perceived and
这个问题的具体方面人物和情节经常被感知和
appreciated for basic conventions of realism.Not only were characters understood as symbols against recognizable social forces,but also these characters were ordinary people with whom readers identified.By using contemporary theory,moreover, critics show how Atwood deals with the concept of female space,as well as the spaceofthe female body itself and consider Atwood's representation ofthe female appetite,taking
因现实主义的基本惯例而受到赞赏。不仅人物被理解为反对可识别的社会力量的象征，而且这些人物也是读者所认同的普通人。此外，通过使用现代理论，批评家展示了阿特伍德如何处理女性空间的概念，以及女性身体本身的空间，并考虑了阿特伍德对女性食欲的表现，采取了
16 Clery,Val.“APlea for the Victim:Surfacing"Rev.of Surfacing Books in Canada 1.12 45-46.
16克莱里，瓦尔。APleafortheVictim：Surfaceacing“Rev.ofSurfacingBooksinCanada1.1245-46.
17 Margaret Laurence,The Undeclared War Against Women³(New York:Crown Publishers,lne.,1991).
17玛格丽特·劳伦斯，《对妇女的不宣而战》³（纽约：皇冠出版社，1991 年）。
18 Jonas,George.“AChoice of Predators.³Rev.of The Handmaids Tale.The Tamarack Review 54:75-77.
18乔纳斯，乔治。AChoiceofPredators.³Rev.ofTheHandmaidsTale.TheTamarackReview54：75-77.
7
女权主义对《使女的故事》的解读
into account its relationship to power and identity.There fore,this paper will analyze the extent to which Atwood's fiction might dismantle eulturally-encoded concepts of feminist and propose a use ful corrective to traditional readings of the female identity
考虑到它与权力和身份的关系。因此，本文将分析阿特伍德的小说在多大程度上可以瓦解女性主义的文化编码概念 ，并提出对女性身份的传统解读的有益纠正
in which the re-embodiment of the self is equated to a re-embodiment ofculture.
其中，自我的再体现等同于文化的再体现。
8
第二章 《使女》中女性主义的体现Tale
故事
Chapter Two Embodiment of Feminism in
第二章女权主义的体现
The Handmaid's Tale
使女的故事
Feminist Politics and Popular Fiction
女权主义政治与通俗小说
It would not be an exaggeration to say that womens liberation as a leaderless
毫不夸张地说，妇女解放是无领导的
amalgam of dispersed groups and practices was held together not by
分散的群体和实践的混合体不是由
organization, but by an infrastructure of magazines, touring speakers,
组织，但由杂志、巡回演讲者、
broadsheets,films and exhibitions and last but not leas t creative writing. 19
大报、电影和展览以及最后但至少不是创意写作。19
Many scholars claim that second-wave feminism has been a literary movement from the outset20 They often define the beginning of the movement with the publication of a book-Betty Friedan's The Feminine Mystique (1963).As further
许多学者声称，第二波女权主义从一开始就是一场文学运动 20他们经常用出版一本书来定义运动的开始——贝蒂·弗里丹 （Betty Friedan） 的《女性之谜》（1963 年）。进一步
evidence,scholars point to the large number of feminist novels published in the late 1960s and early 1970s and the proliferation of feminist presses during the same period. Most of all,however, feminist scholars rely on their own experiences and memories to illustrate the importance of literature to feminism. Many feminist newspapers,
证据，学者们指出，1960 年代末和1970 年代初出版了大量女权主义小说，以及同期女权主义出版社的激增。 然而，最重要的是，女权主义学者依靠自己的经历和记忆来说明文学对女权主义的重要性。许多女权主义报纸，
newsletters and journals that arose out of the women's movement in the late 1960s
1960 年代后期妇女运动产生的时事通讯和期刊
and 1970s also illustrated the close relationship between literature and feminist activism Beginning in about 1968,feminist newspapers and journals began to spring up in cities all around the world.Some of these publications fo lded after only two or three issues;others continued well into the 1980s (althoughoften with a suceession of different editors or editorial eolleetives);a few remain in print today².In 1977,when
而 1970 年代也说明了文学与女权主义激进主义之间的密切关系。大约从 1968 年开始，女权主义报纸和期刊开始在世界各地的城市涌现。其中一些出版物只发行了两三期;其他的则一直持续到1980 年代（尽管经常成功出现不同的编辑或编辑精英）;一些至今仍在印刷²。1977 年，当
preparing A Guide 1o Womens Publishing,Polly Joan and Andrea Chesman
准备指南1o女性出版社，PollyJoan和AndreaChesman
discovered over 150 feminist periodicals in the United States and Canada. 22
在美国和加拿大发现了 150多种女权主义期刊。22
For the most part, these earlypublications considered themselves political
在大多数情况下，这些早期出版物认为自己是政治性的
19 Maria Lauret,Liberating Literature:Feminist Fiction in Ameriea(London:Routledge,1994)72.
19玛丽亚·劳雷特，《解放文学：美国的女权主义小说》（伦敦：劳特利奇出版社，1994年）72.
20 “literary"here in its broadest sense to inelude printed matter of all types-not only fiction and poetry,but also
20 “文学”在这里，从最广泛的意义上讲，它包括各种类型的印刷品——不仅是小说和诗歌，而且
campaign leaflets,position statements,manifestos,ect.
竞选传单、立场声明、宣言等。
By 1974,many of the earliest women's movement publications had ceased to exist,but others took their
到1974 年，许多最早的妇女运动出版物已经不复存在，但其他出版物则采用了他们的
place-many of these focused less on political events and more on art and culture.Brooke Williams attributes this
地点 -其中许多活动较少关注政治事件，而更多地关注艺术和文化。布鲁克·威廉姆斯 （Brooke Williams） 将此归因于此
chan ge to the rise of cultural feminism.Williams,“The Chador of Women's Liberation:Cu ltural Feminism and the
ChanGe对文化女权主义的兴起。威廉姆斯，“妇女解放的守护者：CulturalFeminismandthe the
Movement Press,"Heresies 3.1(1980):70.
运动出版社，“异端3.1（1980）：70。
22 Polly Joan and Andrea Chesman,Guide to Womens Publishing(Paradise,CA:Dust-books,1978)9.
22波莉·琼和安德烈·切斯曼，《妇女出版指南》（天堂，CA：Dust-books，1978年）9。
9
女权扩张论者 Reading
读数 of
之 The
这 Handmaid
婢女 s Tale
故事
journals they contained articles on electoral po litics and grassroots campaigns for change, news about women in the world, information about speeches and rallies, essays of political thought, manifestos and editorials.Yet most of them also featured
期刊他们包含有关选举政策和草根变革运动的文章、有关世界妇女的新闻、有关演讲和集会的信息、政治思想论文、宣言和社论。然而，他们中的大多数也都有
some kind of literary work as well--poetry, fiction,or book reviews.Throughout the history of these feminist publications,writers theorized the relationship between feminist politics and feminist literature.Many feminist activists felt that authors had an obligation to help promote the objectives of women's liberation. Feminist
也包括某种文学作品——诗歌、小说或书评。纵观 这些女权主义出版物的历史，作家们对 女权主义政治和女权主义文学之间的关系进行了理论化。许多女权主义活动家认为，作者有义务帮助促进妇女解放的目标。女权扩张论者
periodicals were not the only vehicles for women's movement literature.The
期刊并不是妇女运动文学的唯一载体。这
movement also generated numerous feminist presses.
运动也产生了许多女权主义媒体。
Feminist Anti-Utopia
女权主义反乌托邦
Against a backdrop of postmodernist debate,the mid-1980s became a point of evaluation and reinvention for feminism,as a second generation of feminists inherited the second wave.The Handmaids Tale looks back at this transition,examining the changing concerns and evolving vocabulary of an inereasingly theorized feminism. Through her dystopian vision, Atwood exposes something of the limiting and prescriptive nature of the utopianism that had underpinned much of the feminism of the early second wave.In The Handmaids Tale,Offred fantasizes about family life: “Lying in bed,with Luke,his hand on my rounded belly³(The Handmaids Tale,
在后现代主义辩论的背景下，1980 年代中期成为女权主义的评估和重塑点，因为第二代女权主义者继承了第二波浪潮。《使女的故事》回顾了这一转变，审视 了不可避免的理论化女权主义不断变化的关注点和不断发展的词汇。通过她的反乌托邦愿景，阿特伍德揭露了乌托邦主义的局限性和规定性，而乌托邦主义是第二波早期女权主义的大部分基础。在《使女的故事》中，奥弗雷德幻想着家庭生活：“躺在床上，和卢克在一起，他的手放在我圆润的肚子上³（《使女的故事》，
154)y²².She craves these glimpses of normality as others crave the perfect utopian
154）y²²。她渴望这些正常的一瞥，就像其他人渴望完美的乌托邦一样
society. The tension that exists between utopian and anti-utopian writing is the contradictory impulse to simultaneously expose and desire the myth of human perfectibility, and this tension is also at the heart of an inereasingly postmodern feminism With The Handmaids Tale,Atwood knowingly wrote herself into a tradition of twentieth century anti-utopia.She describes the novel as“a cognate of A Clockwork Orange,Brave New World and Nineteen Eighty-Four ,24 Each of these no vels deals with questions of liberty and the extent to which the state can demand
社会。 存在于乌托邦 和反乌托邦写作之间的张力，是 同时揭露和渴望人类完美神话的矛盾冲动，而这种张力也是不可避免的后现代女权主义的核心。《使女的故事》，阿特伍德故意将自己写入 20 世纪反乌托邦的传统中。她将这部小说描述为“ 《发条橙》、《美丽新世界》和《一九八四》的同源词，24 这些 no vels 中的每一个都涉及自由问题以及国家可以要求的程度
conformity of the individual.This question became important for feminism when its
个人的一致性。这个问题对女权主义来说变得很重要，因为它
concerns began to shift from a demand for equal rights, to a demand for equal
关注点开始从对平等权利的要求转变为对平等的要求
23 Margaret Atwood,The Handmaids Tale (Boston:Houghton Mifflin Company,1986)154.
[23] 玛格丽特·阿特伍德，《使女的故事》（波士顿：霍顿·米夫林公司，1986年），第154页。
24 Promotional M aterial by Houghton Mifflin,taken from CBC interview,1986,box 149:4.
24 霍顿·米夫林 （HoughtonMifflin） 的宣传M材料，摘自CBC采访，1986 年，框149：4。
10
Chapter Two Embodiment of Feminism in The Handmaid s Tale
第二章《使女的故事》中女性主义的体现
recognition. In The Handmaid's Tale,Atwood envisions a
识别。在《使女的故事》中，阿特伍德设想了一个
society in which the
社会
institutions that guarantee just hierarchies have crumbled.Women's affinity with nature is celebrated through reproduction and the static concept of immutable rights has been opened to change.The utopia hangs on the belief that,given such control,
保证公正等级制度的机构已经崩溃。女性与自然的亲和力通过繁殖得到庆祝，不变权利的静态概念已经向改变开放。乌托邦建立在这样一种信念之上：在这样的控制下，
human being men and women-would not exploit it.The only advantage that
人类的男人和女人——不会剥削它。唯一的优点是
feminist anti-utopianists have over their male counterparts, Atwood seems to suggest,is that their claims have never been tested.This opinion reflects the position of mid 1980s feminism.In articulating the potential danger of certain directions in which the mo vement had been heading,The Handmaid s Tale points to Atwood's decision to ad vocate caution and to defend liberty before ideology.
阿特伍德似乎暗示，女权主义反乌托邦主义者比他们的男性同行更胜一筹，因为他们的主张从未经过检验。这一观点反映了 1980 年代中期女权主义的立场。在阐明运动发展方向的某些潜在危险时，《使女的故事》指出了阿特伍德决定倡导谨慎，并在意识形态之前捍卫自由。
Women in Gilead
基列的妇女
Theplot of The Handmaid s Tale foeuses on a number of women's issues,and in many ways,its approach can be seen as a feminist one.The novel is set in the near future in the Republic of Gilead,formerly the United States of America.The novel
《使女的故事》的情节涉及许多女性问题，在许多方面，它的方法可以被视为女权主义的。小说的背景设定在不久的将来，基列共和国，前美利坚合众国。
presents a picture of what the United States might be like if the extreme religious right
展示了如果极端宗教右翼
gained power and formed a eulture based on a conservative reading of the Christian Bible.Gileadean law is formed entirely from Biblical teachings,and if the Bib le doesn't conform precisely to the ideasof those in power, it is reinterpreted and rewritten. Women in Gilead are confined to their"natural³roles of homemaker and
基列律法完全由圣经教义形成，如果Bib le 不完全符合当权者的想法，它就会被重新解释并 重写。基列的妇女被限制在她们的“自然²角色”中，即家庭主妇和
baby-maker.Men literally become Commanders,Guardians and Angels.
婴儿制造者。人类实际上成为指挥官、守护者和天使。
Offred,the no vel's main eharacter,is a Handmaid,a baby-maker. Handmaids are taught the rules of the regime at a Red Center. Here they learn obedience,silence and exercises designed to inerease their chances for conception.They also learn that they
Offred 是novel 的主要eharacter，是一名女仆，一名婴儿制造商。使女们在红土中心学习政权的规则。 在这里，他们学习服从、沉默和旨在减少受孕机会的练习。他们还了解到，他们
(and almost all women)are forbidden to read or write and that speech is only allo wed when necessary and in certain forms.They are taught by Aunts,women who accepted and enforced the laws of Gilead.Upon completion of the Red Center course,a Handmaid is assigned to a Commander for the sole purpose of bearing his child, which she will then turn over to his wife to raise.The Handmaid is a breeder only,and
（以及几乎所有女性）被禁止阅读或写作，并且只有在 必要时以某种形式才能发表言论。她们由阿姨们教导，阿姨们接受并执行基列的法律.完成红土中心课程后，女仆被分配给指挥官，唯一目的是生下他的孩子，然后她将孩子交给他的妻子抚养。使女只是一羽饲养员，而且
if she fails to produce a child within a certain period of time,she is declared a
如果她未能在一定时间内生育孩子，她将被宣布为
11
女权主义对《使女》的解读Tale
故事
“un-woman³and exiled to the Colonies where she is forced to perform hard and
“un-woman³并被流放到殖民地，在那里她被迫努力表演和
life-threatening labor.
危及生命的分娩。
After offred has been in her Commander's house for several months,the Commander asks to see her alone.This is forbidden, such as reading,playing Scrabble and visiting a brothel.The Commander's wife also involves Offred in criminal activities.In an attempt to impregnate Offred,the wife arranges a rendezvous with Nick,the commander's chauffeur.This affair goes much further than the wife
在 offred 在她的指挥官家里呆了几个月后，指挥官要求单独见她。这是被禁止的，例如 阅读、玩拼字游戏和去 妓院。指挥官的妻子还让Offred参与犯罪活动。为了让奥弗雷德怀孕，妻子安排了与指挥官的司机尼克的约会。这段婚外情比妻子走得更远
anticipated,however,Nick and Offred fall in love.Some while later,the wife
然而，预料到，尼克和奥弗雷德坠入爱河。过了一会儿，妻子
discovers Offred's secret meetings with the Commander and is furious.Soon Offred hears the dreaded black van ofthe Eyes (secret police)coming for her and she is filled with fear.Her fears are allayed,however,when Nick whispers to her that these Eyes
发现了Offred与指挥官的秘密会议，并大发雷霆。很快，奥弗雷德听到可怕的 Eyes（秘密警察）黑色面包车向她驶来，她充满了恐惧。然而，当Nick悄悄地告诉她这些眼睛时，她的恐惧得到了缓解
are members ofMayday,the underground resistance group.She steps into the van and
是地下抵抗组织 Mayday的成员。她走进面包车，
there her story ends.
她的故事到此结束。
The main portion of the no vel is fo llowed by an epilogue that is set even further in the future.The epilogue takes the form of an academic conference with the Republic of Gilead as the topic of historical and anthropological study.Through this epilogue we learn that The Handmaid s Tale is the oral diary of Offred put on cassette tape after her departure in the Eye³s van. We still don't know whether she escaped the repressive regime of Gilead,or whether she was recaptured and sent to the Colonies, or executed.
no vel 的主要部分是由一个设定在未来更远的尾声所推动 的。结语采用学术会议的形式，以基列共和国为历史和人类学研究的主题。通过这个结语，我们了解到《使女的故事》是奥弗雷德在乘坐 Eye³s 面包车离开后被放在盒式磁带上的口述日记。我们仍然不知道她是否逃脱了基列的压迫政权，或者她是否被重新抓获并被送往殖民地，或者被处决。
“Considering the Alternatives"
“考虑其他选择”
The Handmaids Tale was the first of Margaret Atwood's novel to reach a wide audience in the United States.According to Phoebe Larmore,Atwood's agent,the novel sold"within the first year of its publieation well over a million eopies.μ25 It
《使女的故事》是玛格丽特·阿特伍德 （Margaret Atwood） 小说中第一部在美国广受读者欢迎的小说，据阿特伍德的经纪人菲比·拉莫尔 （Phoebe Larmore） 说，这部小说“在出版的第一年就卖出了超过100 万英镑”。μ25它
was also made into a film in 1990,which inereased its reach.The novel enjoyed wide critical attention as well, most of which was quite positive.The novel was praised for its style:“Atwood's writing still has the energy and clarity of a swift river.She is a
1990 年也被拍成电影，影响力不大。这部小说也受到了广泛的评论界关注，其中大部分都是相当积极的。这部小说因其风格而受到称赞：“阿特伍德的写作仍然具有湍急河流的活力和清晰度。她是一个
25 Phoebe Larmore,quoted in Gayle Green,Changing the Story: Feminist Fiction and the Tradition,(Bloomington:
25 菲比·拉莫尔（PhoebeLarmore），引自盖尔·格林（Gayle Green），《改变故事：女权主义小说和传统》（Changing the Story：Feminist Fiction and theTradition），（布卢明顿：
Indian University Press,1991)271.
印度大学出版社，1991）271。
12
章 Two
二 Embodiment
体现 of
之 Feminism
女权主义 in
在 The
这 Handmaid
婢女 s Tale
故事
rhetorical marvelx26 Some critics compared the novel with other modern dystopias by Huxley,Wells and Orwell.Reviewers felt that Atwood, as a novelist,kept getting better and better, and that The Handmaids Tale was the best novel of her career to this point.Of course,there were a few naysayers Mary McCarthy, writing for the New
一些评论家将 这部小说与赫胥黎、威尔斯和奥威尔的其他现代反乌托邦小说进行比较。当然，也有一些反对者MaryMcCarthy 为New 撰稿
York Times Book Review,claimed the novel lacked credibility and“satiric bite,x27 and
约克时报书评，声称这部小说缺乏可信度和“讽刺性咬合”，x27和
John Updike called the book a“woman's novel,"which he compared unfavorably to a “person's novel∞28 These few negative voices were,however,out-weighted by the chorus of positive ones and the no vel went on to win Canada's Governor General's
约翰·厄普代克 （John Updike） 称这本书为“女性小说”，他将其与“人的小说”相提并论∞28 然而，这少数消极的声音被积极的声音所抵消，反对的声音继续赢得了加拿大总督的
Award and to be nominated for literary prizes in France and England.
该奖项，并被提名为法国和英国的文学奖。
The reviews are far less uniform when it comes to the novel's feminism, however. In fact,the critical response reflects the complexity of Atwood's novel in terms of feminismA number of critics hail the novel as a"feminist dystopia"and suggest that
然而，当谈到小说的女权主义时，评论远没有那么统一。 事实上，批评的回应反映了阿特伍德小说在女权主义方面的复杂性，许多评论家称赞这部小说是“女权主义反乌托邦”，并认为
it is a“feminist parable or rallying cry³They also note the novel's foeus on“a living
这是一个“女权主义寓言或战斗口号”他们还指出了小说的敌人“活着”
checklist of a feminist liberal's bugaboos rampant pollution, the Christian fundamentalist New Right, sexism, and racism.. v29 and comment on Atwood's historical accuracy. 30 These elements combine,for some critics,to form an"allegory
一个女权主义自由主义者的bugaboos猖獗的污染清单， 基督教原教旨主义新右翼，性别歧视和 种族主义.. v29并评论阿特伍德的历史准确性。30 对于一些批评家来说，这些元素结合在一起，形成了一个“寓言”
of what resultsfrom a politics based on misogyny, racism and anti-Semitism31
基于厌女症、种族主义和反犹太主义的政治的结果 31
Other critics are less certain of the novel's devotion to feminism,however. Barbara
然而，其他评论家对这部小说对女权主义的奉献不太确定。芭芭拉
Ehrenreich,for example,suggests that The Handmaids Tale offers a critique of“a
例如，Ehrenreich 认为《使女的故事》提供了对“a
repressive tendeney in feminism itself. v32 In fact,according to some critics,the novel, rather than celebrating feminism,may be reconsidering the ways of feminism to effect social change.None of these reading is inaccurate,for the novel does both point out
女权主义本身的压抑倾向。第 32 节事实上，根据一些评论家的说法，这部小说不是在颂扬女权主义，而是在重新考虑女权主义影响社会变革的方式。这些解读都不准确，因为小说都指出了
26 Catherine R.Stimpson,Atwood Woman,"rev.of The Handmaids Tale,by Margaret Atwood,The Nation 31
26凯瑟琳·斯汀普森（Catherine R.Stimpson），《阿特伍德女人》（Atwood Woman），玛格丽特·阿特伍德（MargaretAtwood）著，《国家》（The Nation）31
May 1986:766.
1986 年 5 月：766。
27 Mary McCarthy.“Breeders,Wives,and Un-women"rev.of the The Handmaids Tale,by Margaret Atwood,
27玛丽·麦卡锡。饲养员、妻子和非女性“使女的故事”修订版，玛格丽特·阿特伍德 （Margaret Atwood） 著，
New York Times Book Review 9 February 1986:35.
纽约时报书评，1986年 2 月 9 日：35。
28 John Updike,“Expeditions to Gilead,"rev.of The Handmaids Tale,by Margaret Atwood,The New Yorker 12
28约翰·厄普代克，《远征基列》，玛格丽特·阿特伍德著，《使女的故事》修订版，《纽约客》第12页。
May 1986:121.
1986 年 5 月：121。
29 Paul Gray,“Repression of a NewDay.³rev.of The Handmaids Tale、by Margaret Atwood,Times10 February
29保罗·格雷（Paul Gray），《新日的压制》（RepressionofaNewDay.³rev.ofTheHandmaidsTale），玛格丽特·阿特伍德（MargaretAtwood）著，泰晤士报2月10日
1986:84.
30 Atwood notes in a 1986 interview,There's not a single detail in the book that does not have a corresponding
30阿特伍德在1986 年的一次采访中指出，书中没有一个细节没有对应的
reality,either in contemporary conditions or historieal fact."Le Anne Schreiber,Female Trouble"Vogue January
现实，无论是在当代条件下还是在历史事实中。Le Anne Schreiber，《Female Trouble》《Vogue》一月
1986:209.
31 Cathy N.Davidson,AFeminist 1984,"rev.of The Handmaids Tale,by Margaret Atwood,Ms.February
31凯茜·戴维森（Cathy N.Davidson），AFeminist1984，《使女的故事》修订版，玛格丽特·阿特伍德（MargaretAtwood）著，二月女士
1986:24.
32 Barbara Ehrenreieh,Feminism's Phantoms,"rev.of The Handmaids Tale,by Margaret Atwood,The New
32芭芭拉·埃伦雷（Barbara Ehrenreieh），《女权主义的幻影》（Feminism'sPhantoms），玛格丽特·阿特伍德（MargaretAtwood）著，《使女的故事》（TheHandmaidsTale）修订版
Public 17 M arch 1986:34.
公众17M拱门 1986：34。
13
A Feminist Reading of The Handmaid's Tale
女权主义对《使女的故事》的解读
the horrors of an oppressive,neo-Puritan,patriarehal system and question the efficacy
压迫性的、新清教徒式的、父权主义制度的恐怖，并质疑其有效性
ofcertain feminist positions.
某些女权主义立场。
Atwood herself,however,may never have intended to send a feminist,or any other political messagewith The Handmaid s Tale.Atwood usually consider herself a feminist,yet she has a little doubt(as French does)that novels can change lives or effect political change.In faet,she finds sueh beliefs both naive on a political level and insultingon an artistic one.Like Irving she wants to separate her art and her
然而，阿特伍德本人可能从未打算通过《使女的故事》来传达女权主义者或任何其他政治信息。在faet 中，她发现 sueh 的信念在政治层面上既幼稚，在艺术层面上又侮辱人。像 Irving 一样，她想将她的艺术和她的
politics and she tends to dismiss any political reading of her work.She expresses
政治，她倾向于不屑于对她作品的任何政治解读。她表示
profound ambivalence about being considered a feminist writer and about her own
对被认为是女权主义作家和她自己的
commitment to feminist politics.
致力于女权主义政治。
Atwood's relationship to
阿特伍德与
feminism
女权主义
is a
是一个
complicated one. She participates in
复杂的一个。她参与
feminist political activities and is sometimes willing to call herself a feminist.At other times,she questions the less radical feminist positions and argues that feminism has failed to achieve its goals.While Atwood seems ambivalent about feminism as a
女权主义政治活动，有时愿意称自己为女权主义者。在其他时候，她质疑不那么激进的女权主义立场，并认为女权主义 未能实现其目标。虽然阿特伍德似乎对女权主义持矛盾态度，但
political movement,she clearly opposes any attempts to call her a feminist writer.In
政治运动中，她明确反对任何称她为女权主义作家的企图。在
fact,she has come to deplore other's expectations of her writing.Her goal is to be a good writer,rather than a woman writer or a feminist writer.No matter how Atwood denies calling her a feminist, The Handmaids Tale is publicly famous as a
事实上，她已经开始惋惜别人对她写作的期望。她的目标是成为一名优秀的作家，而不是一名女作家或女权主义作家。无论阿特伍德如何否认称她为女权主义者，《使女的故事》都以
masterpiece of feminist fiction.
女权主义小说的杰作。
Atwood's attitude toward feminism in The Handmaids Tale resembles her position toward feminism as a whole.As a writer who has said she supports the goals of liberal feminism,Atwood's eritique is that of an insider She is not condemning feminism; rather she is questioning it,asking that feminists,in the wo rds of The Handmaid's Tale Aunt Lydia,"eonsider the alternatives.(The Handmaid's Tale,117)
阿特伍德在《使女的故事》中对女权主义的态度与她对整个女权主义的立场相似。作为一名曾表示支持自由主义女权主义目标的作家，阿特伍德的 eritique 是业内人士的 eritaxis：她并不是在谴责女权主义; 相反，她在质疑它，要求女权主义者，在《使女的故事》的wos中，莉迪亚阿姨，“eonsider alternatives。使女的故事，117）
14
章 Three
三 Feminism
女权主义and
和 Ambivalence
矛盾 in
在 The
这 Handmaid
婢女 s Tale
故事
Chapter ThreeFeminism and Ambivalence in
第三章女权主义和矛盾心理
The Handmaids Tale
使女的故事
It is understandable that so many critics and reviews discuss The Handmaid s Tale.Anumber of women's issues are diseussed in the novel,including abortion,birth control,pornography, women's work and family relationships.Readers are reminded of feminist issues and rhetoric at every turn. Offred,for example,looks back on her life in pre-Gileadean times with some nostalgia.Although she was certainly not a feminist,she remembers the exhortations of her feminist mother with fondness.Once, when Offred's mother was visiting and Luke (Offred³s husband) was cooking, Offred's mother says,"you young people don't appreciate things.…You don't know what we [feminists]had to go through,just to get you where you are.Look at him, slicing up the carrots.Don't you know how many women's lives,how many women's bodies;the tanks had to roll over just to get that far?”(The Handmaid's Tale,121)She claims that Offred,in her apathy toward feminism,is just"a backlash,”that history
可以理解的是，有这么多评论家和评论家讨论《使女的故事》，小说中讨论了许多女性问题，包括堕胎、节育、色情、女性工作和家庭关系。读者每时每刻都会想起女权主义问题和修辞。例如，奥弗雷德回顾她在前基列时代的生活时，就有些怀旧之情。虽然她肯定不是女权主义者，但她深情地记得她女权主义母亲的劝告。有一次，当 Offred 的母亲来访，Luke（Offred³ 的丈夫）正在做饭时，Offred 的母亲说：“你们年轻人不欣赏事物......你不知道我们 [女权主义者] 必须经历什么，只是为了让你达到现在的位置。看看他，把胡萝卜切成薄片。你不知道有多少女人的生命，多少女人的身体吗？坦克必须翻车才能走那么远？（使女的故事，121）她声称，奥弗雷德对女权主义的冷漠，只是“一种反弹”，那段历史
will prove Offred's mother,and by extension,feminism right.Certainly,this seems to
将证明Offred 的母亲，进而证明女权主义是正确的。当然，这似乎
be the case,as the novel points out the horror that could result from an enactment of reactionary,antifeminist politics.This can easily be read as a warning to the nation,a warning that urges us,as readers to fo llow feminist advice.
正如小说所指出的那样，反动的反女权主义政治的实施可能导致的恐怖。这很容易被解读为对国家的警告，一个敦促我们作为读者寻求女权主义建议的警告。
Some critics argue,however,that feminism is not so completely accepted or
然而，一些批评者认为，女权主义并没有被完全接受或
clearly advocated in The Handmaids Tale. Rather, the novel betrays strong ambivalence toward feminism and portrays fictional feminists who can neither set nor achieve goals and whose actions have horrifying consequences. The novel's fictional feminists choose to work for causes that are presented as problematic reproductive rights and banning pornography chief among them. Furthermore, the feminist characters use ineffective methods to achieve their goals.By embracing cultural
在《使女的故事》中明确倡导。 相反，这部小说暴露了对女权主义的强烈矛盾心理，并描绘了虚构的女权主义者，她们既不能设定也不能实现目标，她们的行为会产生可怕的后果。小说中虚构的女权主义者选择为那些被描述为有问题的生殖权利和禁止色情制品的事业而努力。此外，女权主义角色使用无效的方法来实现他们的目标。通过拥抱文化
feminism, these characters from philosophical, if not political alliances with
feminism，这些人物来自哲学，如果不是政治联盟的话
antifeminist forces(ie.the religious right) and, inadvertently, create conditions that
反女权主义力量（即宗教右翼）并在不经意间创造了条件
15
女权扩张论者 Reading
读数 of
之 The
这 Handmaid
婢女 s Tale
故事
oppress women. This version of fictional feminism,then eritiques eultural feminist politics and suggests such politics are ineffectiveat best,ominous at worst.The Handmaid s Tale critiques another feminist philosophy as well poststructuralist
压迫妇女。 这个版本的虚构女权主义，然后 eritige 了赞美的女权主义政治，并暗示这样的政治在最好的情况下是无效的，在最坏的情况下是不祥的。《使女的故事》批判了另一种女权主义哲学以及后结构主义
feminist theory.Altho ugh none ofthe novels characters embrace this philosophy,the formof the novel itself exhibits Atwood's critique.This critique adds to the picture of fictional feminism as ineffective,for poststrueturalist theory is shown throughout the novel to have no practical palliation,to effect no social or cultural change.In this
女权主义理论。尽管没有一部小说的人物接受这种哲学，但小说的形式本身就表现出了阿特伍德的批判。这种批评增加了虚构女权主义无效的画面，因为后真实主义理论在整部小说中都表明没有实际的缓和，也没有影响任何社会或文化变革。在这个
chapter, then,I discuss three ways that the novel expresses ambivalence about
章，那么，我讨论了小说表达矛盾心理的三种方式
feminism and reveals feminism.First,I explore the way Atwood's use of language in the novel serves to critique French feminist theory.Then I move into a discussion of Atwood's feminist characters and her thematic use of women's issues and analyze the messages they send about feminism. Finally,I examine the novel's use of the
女权主义并揭示女权主义。首先，我探讨了阿特伍德在小说中使用语言的方式来批判法国女权主义理论。然后，我开始讨论 阿特伍德笔下的女权主义人物和她对女性问题的主题使用，并分析它们传达的关于女权主义的信息。最后，我考察了小说对
heterosexual romance as a plot device and its implications for feminism.
异性恋浪漫作为一种情节手段及其对女权主义的影响。
Language and Feminist Theory
语言与女权主义理论
Pre-Oedipal Language in the Feminist Theory
女权主义理论中的前俄狄浦斯语言
The Handmaids Tale can be read as a sophistieated eritique of certain feminist theories,especially poststructuralist feminist theory, which was introduced in America late in the 1970s.Essays by French poststructuralists appeared in feminist journals
《使女的故事》可以被解读为对某些女权主义理论的诡辩，尤其是 1970 年代后期在美国引入的后结构主义女权主义理论。法国后结构主义者的文章发表在女权主义期刊上
during the late 1970s and early 1980s,33 but this theoretical stance moved to the
在1970年代末和1980 年代初，33但这种理论立场转向了
forefront with the publication of Marks and Isabelle de Courtivron's New French Feminisms in 1981 and Jane Gallop's The Daughter³s Seduction:Feminism and Psychoanalysis in 1982. 34 These texts may well have affeeted Atwood as she was writing The Handmaid's Tale.She does,in fact, seem aware of thesetheories.In her
1981 年出版了 Marks和 Isabelle de Courtivron 的《新法国女权主义》和 1982 年 JaneGallop 的《女儿的诱惑：女权主义和精神分析》。34 这些文本很可能在阿特伍德 写《使女的故事》时感到困惑。在她
1985 talk with professor and theorist Elizabeth Meese,she indicates some knowledge
1985年与教授兼理论家ElizabethMeese 交谈，她表示了一些知识
of French literary theory and discusses her academic training in philosophy and
法国文学理论，并讨论了她在哲学和
33 Works published during this time period inelude:Helene Cixous,"Laugh of the Medusa"signs 1.4 (Summer 1976):875-93;Marguerite Duras,"An Interview with Marguerite Duras,"by Susan Husserl-Kapit,Signs 1.2 (Winter 1975):423-34;and Julia Kristeva,“Women'sTime"Signs 7.1(Autumn 1981):13-35.In fact,the Autumn 1981 issue of Signs focused on French feminist theory,as did the Summer 1981 issue of Feminist Studies.
33在此期间出版的作品不可避免地：Helene Cixous，“美杜莎的笑声”标志 1.4（1976 年夏季）：875-93;玛格丽特·杜拉斯，“玛格丽特·杜拉斯访谈”，苏珊·胡塞尔-卡皮特著，标志1.2（1975 年冬季）：423-34;和 Julia Kristeva，“Women'sTime”Signs 7.1（1981 年秋季）：13-35.事实上，1981 年秋季刊的《标志》和《女权主义研究》1981 年夏季刊都专注于法国女权主义理论。
34 Elaine Marks and lsabelle de Courtivron,eds.,New French Feminisms:An Anthology (New York:Schochken Books.1981);Jane Gallop,The Daughters Seduction: Feminism and Psychoanalysis (lthaca,NY:Comell University Press,1982).
34伊莱恩·马克斯（Elaine Marks）和莱贝尔·德·考蒂夫隆（lsabelle de Courtivron）编，《新法国女权主义：选集》（New York：Schochken Books.1981）;简·盖洛普，《女儿的诱惑：女权主义与精神分析》（lthaca，纽约：科米尔大学出版社，1982 年）。
16
Chapter Three Feminism and Ambivalence in The Handmaid s Tale
第三章《使女的故事》中的女权主义和矛盾心理
literary theory;although she also says she tries not to"get too snarled up in those things.535 In a 1986 interview,Le Anne Screiber states,“Long before American feminists or French theories made us conscious of such things,Margaret Atwood was
文学理论;尽管她也说她尽量不要“在这些事情上太纠结”。535在 1986 年的一次采访中，Le Anne Screiber说：“早在美国 女权主义者或法国理论让我们意识到这些事情之前，玛格丽特·阿特伍德 （Margaret Atwood） 就已经
a deconstructionist"Atwood agrees, blaming this position on her north woods
一个解构主义者“阿特伍德同意，并将这一立场归咎于她的北方森林
childhood and claiming she was “introduced to conventional social roles too late ever
童年并声称她“被引入传统的社会角色太晚了
to mistake them for natural states of being.,36
将它们误认为是自然的存在状态。，36
In The Handmaid's Tale,Atwood
在《使女的故事》中，阿特伍德
illuminates and criticizes the idea of a particular group of French feminist theorists: Helene Cixous,Luce Irigaray and Julia Kristeva.For these theorists,creative writing has po liticalpotential and impact.It provides the possibility for“a specific practice of writing that is itself‘revolutionary³,analogous to sexual and political transformation,
阐明和批评了一组特定的法国女权主义理论家的思想：HeleneCixous、Luce Irigaray 和 Julia Kristeva。它为“一种本身就是'革命性的³，类似于性和政治转变的特定写作实践”提供了可能性。
and that by its very existence testifies to the possibility of transforming.… the
而它的存在本身就证明了转变的可能性......这
orthodox society from the inside.*37 Atwood illustrates these theories in two ways: she uses the kind of feminine language the theorists ad vocate and she creates a culture where language use carries life-or-death consequences. She also criticizes these theories by showing that the strategies they offer do little to change the social order.
*37 阿特伍德以两种方式阐述了这些理论：她使用了理论家所倡导的那种女性语言，她创造了一种语言使用会带来生死攸关的后果的文化。她还批评了这些理论，表明它们提供的策略对改变社会秩序几乎没有帮助。
Although theories as complex and varied as those espoused by the French feminists are not easily summarized,they do contain several key points that can be abstracted.These theorists build on ideas from strueturalism, linguistic theory and most importantly,Lacanian psychoanalysis.Briefly,Lacan promotes a reading of
尽管像 法国女权主义者所支持的理论一样复杂多样的理论并不容易概括，但它们确实包含几个可以抽象的关键点。这些理论家建立在真实主义、语言理论以及最重要的拉康精神分析的思想之上。简而言之，拉康提倡对
Freudian psychoanalysis radically different from that commonly found in America
弗洛伊德的精神分析与美国常见的精神分析截然不同
prior to the early 1980s. 38 According to Lacan,there is a pre-Oedipal period in which the child experiences a dyadie,symbiotic,libidinal relationship to the mother.At the Oedipal moment,the father intercedes between the mother and child,forcing the rules and regulations of culture upon the child.At this time,the child gains the language of
在 1980 年代初之前。38根据拉康的说法，在俄狄浦斯之前，孩子经历了与母亲的二元、共生、关系。在俄狄浦斯时刻，父亲在母亲和孩子之间求情，将文化的规则和规定强加给孩子。这时，孩子获得了
culture, enters the symbolic order and learns the law of the father. This law is
文化，进入象征秩序，学习父的法则。这条定律是
represented by the phallus,Lacan's“primary signifier,³which eomes to represent loss
由代表，拉康的“主要能指”³代表损失
and separation to the child.The child learns to repress her pre-Oedipal experiences
以及与孩子分离。孩子学会了压抑她在俄狄浦斯之前的经历
35 Elizabeth Meese,Crossing the Double-Cross:The Practice of Feminist Theory, Chapel Hill:University of
35伊丽莎白·米斯（ElizabethMeese），《跨越双重十字架：女权主义理论的实践》（Crossing theDouble-Cross：The Practice ofFeministTheory），教堂山大学（Chapel Hill）：Universityof
North Carolina Press,1986.
北卡罗来纳出版社，1986 年。
36 LeAnne Schreiber,Female Trouble,"Vogue January 1986:208.
36LeAnneSchreiber，《女性的烦恼》，《Vogue》1986 年 1 月：208。
37 Toril Moi,SexualTextual Politics:Feminist Literary Theory(New York:Methuen&Co.,1985)11
37托里尔·莫伊，《性文本政治：女权主义文学理论》（纽约：Methuen&Co.，1985）11
38 Jacques Lacan,The Four FundamenialConcepts of Psycho-Analysis(London:1994).
38雅克·拉康，《精神分析的四个基本概念》（伦敦：1994 年）。
17
A Feminist Reading of The Handmaid s Tale
女权主义对《使女的故事》的解读
and her desire for the mother's body.This repressed experience forms the imagination, the place of the pre-Oedipal language of poetry, humor,pun,dream imagery,rhythm and desire.
以及她对母亲身体的渴望。这种被压抑的经历形成了想象力，是前俄狄浦斯语言的诗歌、幽默、双关语、梦境意象、节奏和欲望的位置。
Language is quite obvious an important element in Lancan's theory and it takes on two aspects.Pre-Oedipal language,the imagination,although repressed,provides a place of freedom with the possibility of escape from the rules of phallic culture.It is playful, unsystematic,imaginative and free.Post-Oedipal language,also called the symbolic order or the Law of the Father,is the kind of language that has rules that must be followed and meanings that are assigned.Although this language is what
语言显然是兰康理论中的一个重要元素，它有两个方面。前俄狄浦斯语言，想象力虽然受到压抑，但提供了一个自由的地方，有可能逃离文化的规则。它是俏皮的、不系统的、富有想象力的和自由的。后俄狄浦斯语言，也称为象征秩序或父法则，是那种有必须遵循的规则和被分配的意义的语言。虽然这种语言是什么
allows us to understand others and to be understood in the world around us,this
让我们理解他人，并在我们周围的世界中被理解，这
theory suggests it can be oppressive.Through this language,the child comes to know herself,her thoughts,and her world.This language is the law of the symbolic order, the masculine culture.In this theory, languageis not an element of culture or a
理论表明，这可能是压迫性的。通过这种语言，孩子开始了解她自己、她的思想和她的世界。这种语言是象征秩序的法则，即男性文化。在这个理论中，语言不是文化的元素，也不是
reflection of culture,it is eulture.In this culture, woman becomes not an essential,
文化的反映，是Eulture。在这种文化中，女性不再是必不可少的，
biologicalbeing,but a place in language.Woman becomes"not man",not powerful.
biologicalbeing，而是语言中的一席之地。女人变得“不是男人”，没有力量。
Cixous,Irigaray, Kristeva and other French feminist thinkers take these ideas,build
Cixous、Irigaray、Kristeva等法国女权主义思想家借鉴这些思想，构建
upon them,refashion them and turn them into a
在他们身上，重塑他们，把他们变成一个
woman-centered theory.The use
以女性为中心的理论。用途
Lacanian psychoanalysis as a base on whieh to build“an emancipator theory of the
拉康精神分析作为whieh的基础来构建“一个解放者理论的
personal and apath to the exploration of the unconscious,"a process they see as critical to an understanding of woman's oppression. 39 The imagination has special significance for these theorists.Because pre-Oedipalexperience takes place before the
个人和探索无意识的道路“，他们认为这个过程对于理解女性的压迫至关重要。39想象力对这些理论家来说具有特殊的意义。因为俄狄浦斯前的经验发生在
child enters the symbolic order and learns the rules of the masculine culture,this experience is heavily identified with the mother and by extension with the female. Therefore,pre-Oedipal language,the language of pun,poetry and metaphor,is also identified with the female.
孩子进入象征秩序并学习男性文化的规则，这种体验与母亲密切相关，进而与女性高度认同。因此，前俄狄浦斯语言，双关语、诗歌和隐喻的语言，也被认定为女性。
The equation of language and eulture is a crucial element of French feminist theory.This concept of language as masculine culture is turnedinto a political possibility.Certain kinds of language,especially creative writing as the form closest
语言和颂扬的方程式是法国女权主义理论的一个关键要素。这种将语言视为男性文化的概念变成了一种政治可能性。某些类型的语言，尤其是创意写作作为形式最接近
39 Toril Moi,SexualTextual Politics:Feminist Literary Theory(New York:Methuen&Co,1985)96.
39托里尔·莫伊，《性文本政治：女权主义文学理论》（纽约：Methuen&Co，1985）96。
18
章 Three
三 Feminism
女权主义 and
和 Ambivalence
矛盾 in
在 The
这 Handmaid
婢女 s Tale
故事
to the imagination,become a powerful tool for the disruption of the masculine culture.
去想像，成为破坏阳刚文化的有力工具。
Writing allows the imagination to burst through, finding the gaps in the social structure, filling those gaps withquestions,creating disturbances. This kind of disruption keeps the masculine system from running smoothly.It creates a world in which rigidity and unity are constantly challenged by fluid multiplicity.Creating these disruptions should be the goalof feminism, aceording to the French theorists. 40
写作让想象力迸发出来，找到社会结构中的空白，用问题填补这些空白，制造干扰。这种破坏使男性系统无法顺利运行。它创造了一个世界，在这个世界里，刚性和统一性不断受到流体多样性的挑战。创造这些破坏应该是女权主义的目标，也是法国理论家的目标。40
The Power of Language in Gilead
语言在基列的力量
In The Handmaid s Tale,Atwood creates a society where men are the dominant rulers and a cultural system which is patriarchal,rigid, unified and masculine.A masculine system, according to Jane Gallop,is an inevitable element of the human condition. Chaos and madness would be the result of a non-masculinesystem The mistake that culture makes is equating the male's organ, thus equating masculine power with male power. In Gilead, men literally rule this world. They run the government,oversee education and write the law.They have power over every aspect of life and they have state-sanctioned power to kill.As the Gileadean woman comes
在《使女的故事》中，阿特伍德创造了一个男性占主导地位的社会，以及一个父权制、僵化、统一和男性化的文化体系。根据Jane Gallop 的说法，男性系统是人类状况中不可避免的元素。混乱和疯狂将是非男性系统的结果 文化所犯的错误是将男性的器官等同起来，从而将男性权力等同于男性权力。 在基列，男人确实统治着这个世界。他们管理政府，监督教育并制定法律。他们拥有控制生活方方面面的权力，并且拥有国家批准的杀戮权力。当基列妇人来
to be defined by her fertility,Offred,describing the Commander,thinks,"To be a man,
由她的生育能力来定义，奥弗雷德在描述指挥官时认为，“作为一个男人，
watched by women.It must be entirely strange. To have them putting him on,trying him out, while he himself puts them on, like a sock over a foot,onto the stub of himself,his extra,sensitive thumb,his tentacle,his delicate,stalked slug³s eye…³(The
由女性观看。这一定很奇怪。让他们穿上他，试穿他，而他自己却穿上它们，就像一只袜子套在一只脚上一样，放在他自己的短根上，他特别敏感的拇指，他的触手，他那细腻的、有柄的鼻涕虫的眼睛......³（
Handmaid's Tale,87)When a powerful man's self identity is so tied to this awareness,
使女的故事，87）当一个有权势的男人的自我身份与这种意识如此紧密地联系在一起时，
insulting his power becomes a punishable erime.Although desire can never be sated
侮辱他的权力就变成了一个应受惩罚的 erim。虽然欲望永远无法满足
or named,it can be represented through certain kinds of writing and writing's connection with the imagination.In other words,desire is represented and mediated by language and the act of signification.Like desire,signs can never be given a true,
或命名，它可以通过 某些类型的写作和写作与想象力的联系来表示 。换句话说，欲望由语言和能指行为来代表和中介。就像欲望一样，迹象永远无法被赋予真实，
single meaning; rather, meaning slides along the signifying chain These theorists
单一含义;相反，意义沿着能指链滑动这些理论家
claim that any time the signifier slides,as in wordplay,pun and humor,then the signified slips beneath and the unconseious is speaking.Thus,the imagination is seen in any writing that shows a disruption of conventional grammar or syntax, in
声称任何时候能指滑动时，如文字游戏、双关语和幽默，所指就会滑到下面，不自觉的就会在说话。因此，想象力在任何表现出对传统语法或句法的破坏的作品中都能看到，在
40 Jane Gallop,The Daughters Seduction:Feminism and Psychoanalysis (Ithaca,NY:Cornell University Press,
40简·盖洛普，《女儿的诱惑：女权主义与精神分析》（伊萨卡，纽约：康奈尔大学出版社，
1982)47.
19
女权主义对《使女》的解读Tale
故事
metaphorical language or abstraction.Women's desire in The Handmaids Tale is also both indescribable and unsatisfied.It is buried in the imagination and has not reached the symbolic level In fact,in a eulture where written language is forbidden to women, words become more than the representations of feeling,they themselves become objects of accessory.When the Commander asks Offred to play Scrabble,a language
隐喻语言或抽象。《使女的故事》中女性的欲望也是既难以形容的，又不被满足的。它被埋藏在想象中，还没有达到象征性的层面 事实上，在一个禁止女性使用书面语言的 eulture 中，文字不仅仅是感情的表征，它们本身也成为配饰的对象。当指挥官要求Offred玩拼字游戏时，一种语言
game,with him,she remembers that she once fo und the game boring.‘Now ofcourse
游戏，和他在一起，她记得她曾经觉得游戏很无聊。现在当然了
it's something different.Now it is forbidden,for us.Now it's dangerous. Now it's indecent.…Now it's desirable".(The Handmaid's Tale,138)Offred is amazed that she ever treated language lightly. She remembers leafing through magazines, discarding them,forgetting the artieles she³d read.Now she desires the opportunity to read these same magazines. When the Commander offers her one,she thinks,I wanted it with a force that made the ends of my fingers ache".(The Handmaid's Tale, 155)
这是不同的东西。现在对我们来说，这是被禁止的。现在很危险。现在它很不雅......现在是可取的”。（使女的故事，138）奥弗雷德很惊讶她竟然对语言如此轻视。她记得翻阅杂志，丢弃它们，忘记了她读过的文章。现在，她希望有机会阅读这些相同的杂志。 当指挥官给她一个时，她想，我想要它的力量让我的手指末端都疼”。使女的故事，155）
Language in Gilead is recognized as a very powerful tool;its disruptive power is
在基列学校里，语言被认为是一个非常强大的工具;它的破坏力是
intuited and hence only those in power are allo wed to use it.Only men are allowed to read, write and speak freely.And even some men are denied completely freedom in their choice of reading materials as certain books have been banned by the states.The truly powerful are allowed free reign,however,for"what's dangerous in the hands of the multitudes.is safe enough for those whose motives are. beyond reproach".
直觉，因此只有当权者才能使用它。只有男性才能自由阅读、写作和说话。甚至一些男性在选择阅读材料方面也被完全剥夺了自由，因为某些书籍已被各州禁止。然而，真正有权势的人可以自由支配，因为“在 multitudes.is 手中危险的东西 对那些有动机的人来说已经足够安全了。无可非议”。
(The Handmaids Tale,158)
（使女的故事，158）
Women are forbidden reading and writing materials and they are discouraged from talking. They speak among themselves in whispers,afraid of getting caught. Offred wishes she could gossip with the Commander's housekeepers.She claims she
禁止女性阅读和书写材料，并且不鼓励她们说话。他们互相窃窃私语，害怕被抓住。 奥弗雷德希望她能和指挥官的管家八卦。她声称她
used to “despise such talk.Now I longfor it.At least it was talk.An exchange,of sorts".(The Handmaids Tale,11)And of course,such talk is a kind of power, for to have something to "exchange³is to have social power,a power women are forbidden. In Gilead, the silent woman is the ideal woman. The Gileadean Bible proclaims “Blessed are the silent".(The Handmaids Tale,89)Offred suspects this phrase is made up,but she can't prove it.The silent woman is also the powerless woman At a
曾经“鄙视这样的谈话。现在我渴望它。至少这是谈话。某种交换“.（《使女的故事》11）当然，这样的谈话是一种权力，因为拥有“交换”的东西就是拥有社会权力，一种女性被禁止的权力。在基列，沉默的女人是理想的女人。基列 圣经宣称“沉默的人有福了”。使女的故事，89）奥弗雷德怀疑这句话是编造的，但她无法证明。沉默的女人也是无权无势的女人
20
章 Three
三 Feminism
女权主义 and
和 Ambivalence
矛盾 in
在 The
这 Handmaids Tale
使女的故事Prayvaganza,
Prayvaganza，the
这 speaker
议长 declares,
声明“Let
“让the
这 woman
女人 learn
学习 in
在 silence
沉默 with
跟 all
都subjection..I suffer not a woman to teach,
隶属。。我不许女人来教导， nor to usurp
也不是为了篡夺 authority over the man,but to
权威凌驾于男人之上，但要be
是 in
在 silence".(The
沉默”。（该 Handmaids
使女 Tale,221)The
Tale，221）的 limited
有限 speech
演讲 that
那 is
是 allowed
允许 to
自
women is both formalized and formularized. Many phrases are taken from the
女性既是正式的，也是公式化的。许多短语取自
Gileadean Bible.Handmaids greet one another with“Blessed be the fruit³and answer ‘May the lord open".(The Handmaid's Tale,19) Responding to any statement incorrectly is taken as a sign of rebellion and can be very dangerous. Certain words, such as“sterile"when used in reference to men and “free"are prohibited.These
基列圣经使女们互相问安，说“果子是应当称颂的”³，并回答说'愿主开门'。使女的故事，19）错误地回答任何陈述都被视为叛逆的表现，并且可能非常危险。某些词语，例如“sterile”（不育）用于指代男性和“free”（免费）是被禁止使用的。这些
words are considered extremely powerful.Their use could disrupt the unified order of
文字被认为是非常强大的。它们的使用可能会破坏
Gilead,disturb the masculine system and ultimately, incite rebellion
基列，扰乱男性制度，最终煽动叛乱
Although limited speech is allowed,readingand writing are expressed forbidden to women The founders of Gilead believe,*Our big mistake was teaching them to read.We won³t do that again³.(The Handmaid's Tale,307)Hence,most women are not allowed any reading material all.Offred even worries about the legality of a
虽然允许限制言论，但明确禁止女性阅读和写作 基列的创始人认为，*我们最大的错误是教她们阅读。我们不会再这样做了³。使女的故事，307）因此，大多数女性都不允许使用任何阅读材料。Offred甚至担心
cushion with the word“FAITH”printed on it.She thinks,I can spend minutes,tens
印有“FAITH”字样的靠垫。她想，我可以花几分钟，几十
of minutes,running my eyes over the print:FAITH.It's the only thing they've given me to read.If I were caught, would it count?" (The Handmaid s Tale,57)She reco gnizesthe power inherent in being allowed to read,envying the Commander because “he has something we don't have,he has the word".(The Handmaid's Tale,
几分钟，我的眼睛扫视着印刷品：信仰。这是他们给我唯一读的东西。如果我被抓住了，这算不算？“（《使女的故事》，57）她认识到被允许阅读所固有的力量，嫉妒指挥官，因为”他拥有我们没有的东西，他有这个词”。使女的故事，
88)The Aunts,those women enforcing the authority of the regime,also have the word, though under very limited conditions.They understand very well the power this gives him,and they flaunt it“Aunt Lydia rummages in her pocket,produces a crumpled
88）阿姨们，那些执行政权权威的妇女，也有这个词，尽管条件非常有限。他们非常了解这赋予他的力量，他们炫耀它“莉迪亚阿姨在她的口袋里翻找，产生了一个皱巴巴的
piece of paper. This she takes an undue length of timeto unfold and scan She's
一张纸。这个 She需要过长的时间来展开和扫描She's
rubbing our noses in it,letting us know exactly who she is,making us watch her as
在里面蹭我们的鼻子，让我们确切地知道她是谁，让我们看着她
she silently reads,flaunting her prerogative".(The Handmaid s Tale,27)
她默默地阅读，炫耀她的特权”。使女的故事，27）
Although some women are allowed to read, none are allowed to write.The Handmaids are trained to despise writing.They are told writing is wrong and immoral They do not forget the power of writing,however. When handed a pen for the first time since becoming a Handmaid,Offred thinks,The pen between my fingers is
虽然一些女性被允许阅读，但没有人被允许写作。使女们被训练成鄙视写作。他们被告知写作是错误和不道德的，然而，他们并没有忘记写作的力量。当成为使女后第一次递上一支笔时，Offred想，我指间的笔是
21
女权扩张论者 Reading
读数 of
之 The
这 Handmaid
婢女 s Tale
故事
sensuous,alive almost,I can feel its power,the power ofthe words it contains.Pen Is Envy,Aunt Lydia would say,quoting another Center motto,warning us away from such objects.And they were right,it is envy".(The Handmaid's Tale,186)Here,in the
感性，几乎是活生生的，我能感受到它的力量，它所包含的文字的力量。笔是羡慕的，莉迪亚阿姨会说，引用另一个中心的座右铭，警告我们远离 这样的物体。他们是对的，这是羡慕”。（使女的故事，186）在这里，在
pun on"pen is envy",the pen is equated with the penis,and hence,the symbolic level, the level of language,culture,the word,becomes eq uated with male power. The connection of writing with the imagination is also implied in this passage.Offred recognizes writing as representative of desire,for as she acknowledges the symbolic
双关语“pen is envy”，笔等同于阴茎，因此，象征层面，语言、文化、词语的层面，与男性权力等同。 写作与想象力的联系也暗示在这段话中。奥弗雷德认为写作是欲望的代表，因为她承认象征性
power of the pen,she also describes its sensuality.Even those who are forbidden to
Powerof thePen 的，她也描述了它的性感。即使是那些被禁止的人
write remember writing³s ability to express desire.
写记住写作表达欲望的能力。
The Feminine Language in The Handmaid s Tale
《使女的故事》中的女性语言
Writing gains a special importance for Offred.She spends a great deal of time examining every detail of her room and when looking in her closet finds“in tiny writing,quite fresh it seemed, scratched with a pin or maybe just a fingernail,in the corner where the darkest shadow fell:Nolite te bastardes carborundorum".(The Handmaids Tale,52)She can't translate this phrase,but she recognizes it as a message from the previous Handmaid.It becomes her prayer:I don't know what else I can say to God.³(The Handmaids Tale,90)Later the phrase loses some of its power
她花了大量时间检查房间的每一个细节，当查看她的壁橱时，发现“在微小的文字中，似乎很新鲜，用大头针划伤，或者可能只是一个指甲，在最黑暗的阴影落下的角落里：Nolite te bastardes carborundorum“.（使女的故事，52）她无法翻译这句话，但她认出这是前 Handmaid.It 的信息，成为她的祈祷：我不知道我还能对上帝说什么。³（使女的故事，90）后来这句话失去了一些力量
and becomes “more like a command;but to do what?Useless to me in any cases,an
并变得“更像一个命令;但要做什么呢？无论如何对我来说都没用，一个
ancient hieroglyph to which the key's been lost".(The Handmaids Tale,147)Finally Offred summons the courage to ask the Commander what the phrase means. He tells her it's a Latin students³joke meaning“don't let the bastards grind you down".(The Handmaids Tale,187)Then Offred understands,I can see why she wrote that,on the wall of the cupboard,but I also see that she must have learned it here,in this room".
钥匙丢失的古代象形文字”。使女的故事，147）最后，奥弗雷德鼓起勇气问指挥官这句话是什么意思。他告诉她这是一个拉丁语 students³joke 的意思是“不要让那些混蛋把你磨碎”。使女的故事，187）然后奥弗雷德明白了，我明白她为什么在橱柜的墙上写下这句话，但我也看到她一定是在这里，在这个房间里学会的”。
(The Handmaids Tale,187)When Offred knows the meaning of the phrase,it loses its power for her.She decides “it conveys nothing.You might as well say,don't let there be air;or,don'tbe³.(The Handmaids Tale,291)
（使女的故事，187）当奥弗雷德知道这句话的含义时，它对她来说就失去了力量。她决定“它什么也没传达。你还不如说，不要让空气; 或者，不要³.（该使女的故事，291）
Obviously,thepower of language is aeknowledged in the culture created by the novel.Atwood,as a writer,is also very much aware of the power of words.Her novel as a piece of writing can be read as a disruption of our own masculine culture.
显然，语言的力量在小说创造的文化中得到了承认。作为一名作家，阿特伍德也非常了解文字的力量。她的小说作为一篇文章可以被解读为对我们自身男性文化的破坏。
22
第三章 《使女》中的女权主义和矛盾心理Tale
故事
Atwood's writing style contains many of the elements of feminine writing, as
阿特伍德的写作风格包含许多女性写作的元素，如
described by Cixous and Irigaray.For these theorists,feminine texts “work on the difference. struggle to undermine the dominant phallogocentric logic,split open the closure of the binary opposition and revel in the pleasures of open-ended text>41 Feminine writing is fluid and multiple;it breaks grammatical and syntactical rules.It acknowledges the free play of the signifier and breaks open the prison house of patriarchal language.Atwood's no vel conforms to this description.It does not follow syntactical rules.Sentences are shot,choppy, incomplete,or they are long, flowing, run-on.They ignore the conventional order of subjeet,verb and object.The language is fluid and poetic,very close to Cixous concept of writing the body,a type of
由 Cixous 和 Irigaray 描述。对于这些理论家来说，女性文本“致力于差异。努力破坏占主导地位的以 Phallogo为中心的逻辑，劈开二元对立的封闭，陶醉于开放式文本的乐趣>41 女性写作是流动的和多重的;它打破了语法和句法规则。它承认能指的自由发挥，并打破了 父权制语言的牢房。Atwood 的 no vel 符合这种描述。它不遵循语法规则。句子是断断续续的、不完整的，或者它们是长的、流畅的、连续的。他们忽略了 subjeet、verb 和 object 的常规顺序。语言流畅而富有诗意，非常接近 Cixous 的 writing the body 概念，一种
feminine writing that embodies the mother³s voice,the mother's body, breast milk,
体现母亲声音的女性写作，母亲的身体，母乳，
and the imagination.
和想象力。
The Handmaid's Tale is nonlinear in structure. Events are not presented in chronologicalorder;rather,the narrative skips around from present to past to imagine future.In fact,in the epilo gue we learn that the tale was fo und on unnumbered tapes and that these wereput to gether in an order that simply seemed right.Thus,the order in which we read the events may not even be the"eorrect"order.An unconventional sense of time also structures women's writing, according to Kristeva.She believes women function according to the time patterns of their ownbodies,not according to the linearity of the symbolic order.Hence,they see time as eyelical,eosmie,mystical
《使女的故事》在结构上是非线性的。事件不按时间顺序显示;相反，叙事从现在跳到过去，想象未来。事实上，在结语中，我们了解到这个故事是在未编号的磁带上流传的，而且这些磁带是按照看起来正确的顺序排列的。因此，我们读取事件的顺序甚至可能不是 “eorrect” 顺序。根据 Kristeva 的说法，非常规的时间感也构建了女性的写作，她认为女性根据自己身体的时间模式运作，而不是根据象征秩序的线性。因此，他们把时间看作是眼睛的、永恒的、神秘的
and eternal. 42 This sense of time is represented in feminine writing through
和永恒。42这种时间感在女性写作中表现为
unorthodox syntax and unconventional narrative time,both of which are present in
非正统的句法和非常规的叙事时间，这两者都出现在
Atwood's novel.
阿特伍德的小说。
Femininewriting is also evident in Atwood's use of wordplay and pun.In this kind of language,the imagination breaks through,ereating disruptions in the norma sequence of symbolic discourse.Wordplay and puns occur throughout the novel.For example,Offred thinks,fIt's strange,now,to think about having a job.Job.It's a
女性写作在阿特伍德对文字游戏和双关语的使用中也很明显。在这种语言中，想象力突破，在象征性话语的规范序列中造成中断。文字游戏和双关语贯穿整部小说。例如，Offred认为，f很奇怪，现在，考虑有一份工作。Job.It是一个
41 Toril Moi,SexuallTextual Politics:Feminist Literary Theory(New York:Methuen&Co,1985)108.
41托里尔·莫伊，《性文本政治：女权主义文学理论》（纽约：Methuen&Co，1985）108。
42 Julia Kristeva,“Women'sTime,"Feminist Theory:ACritique of Ideology,ed.Nannerl O.Keohane,Michelle
42朱莉娅·克里斯蒂娃，“妇女时代”，“女权主义理论：意识形态的政治意义”，编辑。NannerlO.Keohane，米歇尔
Rosaldo,and BarbaraC.Gelpi(Chicago:University of Chicago Press,1981)34-35.
罗萨尔多和芭芭拉 C.Gelpi（芝加哥：芝加哥大学出版社，1981 年）34-35。
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funny word.It's a job for a man. Do a jobbies,they³d say to children when they were being toilet trained.Or of dogs:he did a job on the carpet…the Book of Job."(The Handmaid's Tale,173)This kind of wordplay almost always oceurs before or during Offired's retreats into memory, her retreats into the imagination. These retreats
有趣的词。这是一份男人的工作。做一个工作，当孩子们接受如厕训练时，他们会对他们说。或者狗：他在地毯上做了一份工作......约伯记。（该 使女的故事，173）这种文字游戏几乎总是在 Offired退缩到记忆中之前或期间出现，她退缩到想象中。这些静修处
represent Offred's personal disruption of the masculine culture,her private rebellion
代表了Offred个人对男性文化的破坏，她个人的反叛
against the symbolic order.
反对象征性秩序。
Therefore,the use of wordplay represents the author's own disruption of the symbolic order. With this novel,Atwood serves as an impertinent questioner.She looks for the inconsistencies in masculine culture and pokes at them,probes them with her questions.According to Gallop,it is this very questioning that sho uld be the
因此，文字游戏的使用代表了作者自己对符号秩序的破坏。在这部小说中，阿特伍德扮演了一个无礼的提问者。她寻找男性文化中的不一致之处，并戳戳它们，用她的问题来探究它们。根据盖洛普的说法，正是这种质疑导致了
goal of feminism.The feminist,she claims,must eonstantly question,beeause"man's order is disturbed by the woman with the impertinent questions and the incisive comments. 943 Atwood's novel disrupts our own masculine culture with her constant
女权主义的目标。她声称，女权主义者必须不断质疑，beeause“男人的秩序被女人的无礼问题和尖锐的评论所打乱。943阿特伍德的小说用她不断的
questions about male laws,beliefs and eustoms.In the culture created by the novel, language is reeo gnized as a repressivepo litical tool The denial of the tool to women serves as a metaphor for women's exclusion from the power structure,fromthe
关于男性法律、信仰和尤斯托姆的问题。在小说创造的文化中，语言被重新定义为一种压制性的政治工具。否认女性使用这种工具是女性被排除在权力结构之外的隐喻。
masculine culture. Offred's illegal inclusion in the symbolic order, her frequent
男性文化。Offred非法加入象征秩序，她频繁
retreats into the imagination question and the masculine culture of Gilead prevent it fromdestro ying her.The language of the novel itself questions our own masculine culture as it disrupts the symbolic order through wordplay,puns and the other elements of feminine writing.
退回到想象力的问题中，基列的男性文化阻止了它对她的贬低。小说的语言本身就质疑我们自己的男性文化，因为它通过文字游戏、双关语和 女性写作的其他元素破坏了象征秩序。
The Handmaid's Tale,however, suggests that the disruption of the symbolic order does little to change the patriarchal culture,which these strategies are far from liberating.For although Offred is able to tell her tale and uses language in a way that
然而，《使女的故事》表明，象征秩序的破坏对改变父权文化几乎没有什么帮助，这些策略远非 解放。因为尽管奥弗雷德能够讲述她的故事，并且以某种方式使用语言
disrupts the symbolic order,ultimately her discourse changes nothing.
打破了象征性的秩序，最终她的话语什么也没改变。
Allude to Contemporary Feminism
暗指当代女权主义
In the“Historical Notes³seetion of the novel, we learn that while Gilead has
在小说的《史记》中，我们了解到，虽然基列有
disappeared,sexist society has not.This section describes an academie conference on
消失了，性别歧视的社会并没有。本节介绍了
43 Jane Gallop,The Daughters Seduction:Feminism and Psychoanalysis (lthaca,NY:Cornell University Press,
43简·盖洛普，《女儿的诱惑：女权主义与精神分析》（lthaca，NY：康奈尔大学出版社，
1982)56.
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章 Three
三 Feminism
女权主义 and
和 Ambivalence
矛盾 in
在 The
这 Handmaid
婢女 s Tale
故事
Gileadean Studies that takes place in the year 2195,long after the fall of the Gileadean regime.The conference features a lecture by Professor James Darcy Pieixoto,an archivist,who along with professor Knotly Wade discovered and edited
基列研究发生在 2195 年，即基列政权垮台很久之后。会议的特色是档案管理员 JamesDarcy Pieixoto 教授的演讲，他与 Knotly Wade 教授一起发现和编辑
The Handmaid's Tale.The society in which the conference takes place is clearly similar to our own;men and women are nominally equal-they both participate in the conference as speakers and moderators,for example.Women remain subordinate to men, however, as the opening ofprofessor Pieixoto³s speech indicates.He begins his lecture with a series of sexist jokes,the first of which compares the session's
会议发生的社会显然与我们自己的社会相似;男性和女性名义上是平等的——例如，他们都作为演讲者和主持人参加会议。然而，女性仍然从属于男性，正如Pieixoto³ 教授的演讲开场白所表明的那样。他以一系列性别歧视的笑话开始他的演讲，其中第一个笑话比较了会议的
“charming Arctic Chair³to last night's dinner,an"Arctic Char,"and suggests that the
“迷人的北极椅子³到昨晚的晚餐，an”北极红点鲑“，并建议
audience “enjoy³them both (The Handmaids Tale,300)As Arnold E.Davidson suggests,fthe chairwoman/charwoman thus assumes her marginal place as mere handmaiden to Pieixoto's central text"Pieixoto goes on to comment on the title of the
观众“享受³他们俩（使女的故事，300）正如阿诺德·戴维森 （Arnold E.Davidson） 所建议的那样，f主席/女牧师因此在 Pieixoto 的中心文本中承担了她作为侍女的边缘位置”Pieixoto 继续评论标题
manuscript, claiming,“I am sure that all puns were intentional, particularly that having to do with the archaic vulgar signification of the word tail;that being,to some extent,the bone,as it were,of contention in that phase of Gileadean society of which our saga treats.³(The Handmaid's Tale,301)Finally,he trivializes the Handmaid's escape route,calling it“The Underground Frailroad”.These jokes indicate disrespect for women that survive from our time through Gileadean times and into the twenty-second century.
手稿声称，“我确信所有的双关语都是故意的，特别是与尾巴这个词的古老粗俗含义有关;在某种程度上，这就是我们传奇所讨论的基列社会那个阶段的争论之骨。³（使女的故事，301）最后，他轻视了使女的逃跑路线，称其为“地下脆弱”。这些笑话表明了对女性的不尊重，这些女性从我们这个时代一直延续到基列时代，一直延续到22世纪。
Pieixoto's use of puns here represents Atwood's sharpest critique of French
Pieixoto在这里使用双关语代表了Atwood对法语最尖锐的批评
feminism in this section Earlier I described the French feminist attention to puns, which allow the signifier to slip and the imagination to peek through, creating potentially revolutionary disruptions.The result here,however,is far from liberating.
本节中的女权主义 前面我描述了法国女权主义对双关语的关注，这些双关语允许能指溜走， 让想象力得以窥视，从而产生潜在的革命性破坏。然而，这里的结果远非解放。
Pieixoto uses puns in his lecture repeatedly, always with decidedly sexist ends. Clearly,French feminist theories regarding language and revolution are not working here.
Pieixoto 在他的演讲中反复使用双关语，总是带有明显的性别歧视。 显然，法国关于语言和革命的女权主义理论在这里不起作用。
Pieixoto³s disrespect for women continues as he appropriates Offred's narrative and uses it,not to illuminate the lives of women in Gilead,but to discover the identity of Offred's commander.He states early on that there is no hope of identifying Offred;
Pieixoto³ 对女性的不尊重仍在继续，因为他挪用了 Offred 的叙述并利用它来，不是为了阐明基列女性的生活，而是为了发现 Offred 指挥官的身份。他很早就表示，没有希望找到 Offred;
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she is nameless,faceless,simply*one of many,and must be seen within the broad outlines of the moment in history of which she was a part".(The Handmaids Tale, 305)As Offred fears early in her tale,historyhas forgotten her;even worse,it has chosen to ignore her.None of the women in Pieixoto³s narrative have names or identities.He,of course,blames this on Gileadean record keeping. But it is his own
她是无名的，没有面孔的，只是*众多人中的一员，必须在她所参与的历史时刻的广阔轮廓中被看到”。使女的故事，305）正如奥弗雷德在她的故事早期所担心的那样，历史已经忘记了她;更糟糕的是，它选择了 无视她。Pieixoto³s 叙述 中的女性都没有名字或身份。当然，他把这归咎于基列的记录保存。但这是他自己的
synthesis of these records that erases these women's lives.He chooses to concentrate on Offred's Commander,whom he tentatively indentifies as Frederick R.Waterford, rather than on the identities ofOffred,Serena Joy,Moria or the other women.
这些记录的综合抹去了这些女性的生活。他选择专注于 Offred 的指挥官，他暂时将其确定为 Frederick R.Waterford，而不是 Offred、SerenaJoy、Moria 或其他女性的身份。
In his quest to identify the commander,Pieixoto consistently trivializes Offred's story.He calls her story an “item³,hesitating to use the word"document³and he questions the narrative's authenticity.In doing,he also questions the story's authority.He is unwilling to grant the story any narrative power or emotionalimpact, though he admits that it is in its own way eloquent.He is,simply, unhappy with Offred as a storyteller.He ridicules her edueation and wishes she had a different turn
在寻找指挥官的过程中，Pieixoto 一直轻视 Offred 的故事。他称她的故事为“项目”³，犹豫是否要使用“文件”这个词³，他质疑叙述的真实性。在此过程中，他也质疑了这个故事的权威性。他不愿意赋予这个故事任何叙事力量或情感冲击力，尽管他承认它以自己的方式雄辩。他只是对奥弗雷德这个讲故事的人不满意。他嘲笑她的教育，希望她能有不同的转变
of mind.He hopes that she could have told them much about the workings of the Gileadean Empire.Perhaps it is the possessive tone in Pieixoto's statements that is most disturbing.For in his drive to authenticate,he also appropriates,and Offred's story becomes his own. As editor of the tale,Pieixoto forms Offred's story; as historian,he assigns meaning to it and,by extension,to Offred's very experience.Her story becomes simply a means for his career advancement.
的思想。他希望她能告诉他们很多关于基列帝国的运作情况。也许最令人不安的是Pieixoto 陈述中的占有欲语气。因为在他验证的动力中，他也挪用了，奥弗雷德的故事变成了他自己的故事。作为故事的编辑，Pieixoto 构成了 Offred 的故事; 作为历史学家，他为它赋予了意义，进而赋予了奥弗雷德的经历。她的故事只是他职业发展的一种手段。
While Pieixoto trivializes and denigrates Offred's tale,he displays a certain
虽然Pieixoto轻描淡写和诋毁 Offred 的故事，但他表现出了一定的
admiration for the regime of Gilead.He begins his talk with what he calls"an
他以他所说的“an
editorialaside":
editorialaside“：
Allow me to say that in my opinion we must be cautious aboui passing moral judgment upon the Gileandeans. Surely we have learned by now thai such judgments are of necessity culture-specific.Also,Gileadean society was under a
请允许我说，在我看来，我们必须谨慎地对吉利安人进行道德评判 。当然，我们现在已经了解到 ，这样的判断必然是特定于文化的。此外，基列社会处于
good deal of pressure,demographic and otherwise,and was subject to factors from which we ourselves are happily freer Our job is not to censure, but to understand. (The Handmaids Tale,302)
很大的压力，人口和其他方面，并且受到我们自己更自由的因素的影响。我们的工作不是谴责，而是理解。（使女的故事，302）
26
第三章 《使女》中的女权主义和矛盾心理Tale
故事
Through such cultural relativism, Pieixoto has not much exphined as explained away racist and sexist policies that led to a virtual reign of terror. This refusal to judge or censure thus makes of historical discourse at least as Pieixoto
通过这种文化相对主义，Pieixoto 并没有过多地 解释导致虚拟恐怖统治的种族主义和性别歧视政策。因此，这种拒绝评判或谴责使历史话语至少成为Pieixoto
practices it-a diseourse of exoneration.In other words,in his determination not to
实践它——一种无罪的解脱。换句话说，他决心不
judge, Pieixoto ends up forgiving Gilead and excusing its horrors.Perhaps this is
法官，Pieixoto最终原谅了基列并原谅了它的恐怖。也许这是
because Pieixoto doesn't see Gilead as entirely horrific.In fact,he sometimes seems entirely approving.For example,at one point,he praises Gilead's genius; later, he describes the Handmaids³lives as protected,when they were in fact imprisoned.This hardly seems to be a critical, or even a truly analytical point of view. Perhaps it is impossible for him to achieve a critical viewpoint because,as he himself claims,*no new system can impose itself upon a previo us one without incorporating many of the elements to be found in the latter".(The Handmaid's Tale,305)He does not,however, recognize the traces of Gilead that are present in his own culture.But they are there, and they seem to be clouding his own reading of The Handmaids Tale.Of course,
因为 Pieixoto 并不认为基列完全可怕。事实上，他有时似乎完全赞同。例如，他一度赞美基列的天才; 后来，他将使女³的生活描述为受到保护，而她们实际上是被囚禁的。这似乎不是一个批判性的观点，甚至不是一个真正的分析性观点。也许他不可能实现批判性的观点，因为正如他自己所声称的那样，*任何新系统都不能将自己强加于前一个系统，而不纳入后者中的许多元素”。《使女的故事》305）然而，他并没有认识到他自己的文化中存在的基列的痕迹。但他们就在那里，而且他们似乎给他自己对《使女的故事》的阅读蒙上了一层阴影。
Pieixoto's blindness to the similarities between his own eulture and Gilead is exactly
Pieixoto对自己的eulture和Gilead之间的相似之处视而不见，这正是
Atwood's point,for it suggests that Offred's use of pre-Oedipal language has no effect at all.Not only did it not change Gilead,it can't even pierce the consciousness of one man decades after Gilead falls.
阿特伍德的观点，因为它表明奥弗雷德对前俄狄浦斯语言的使用根本没有效果。它不仅没有改变基列，甚至在基列陷落几十年后，甚至无法刺穿一个人的意识。
It is only the content of Pieixoto's lecture that illustrates the sexist tendencies of
只有 Pieixoto 的讲座内容说明了
the culture of the year in 2195;it is also the language in whieh the leeture is presented. In the Historical Notes, Atwood leaves behind the loose,flowing pre-Oedipal language of the French feminists and reinstates the struetured and abstract language of
2195 年的年度文化;这也是 whieh the leeture 被呈现的语言。在《历史笔记》中，阿特伍德抛弃 了法国女权主义者松散、流畅的前俄狄浦斯语言，恢复了
academia.In other words,she reinstates the symbolic order.Pieixoto is an extremely formal and highly scholarly speaker,as anexample from the conclusion of his lecture illustrates:
学术界。换句话说，她恢复了象征性的秩序。Pieixoto 是一位非常正式且极具学术性的演讲者，正如他的讲座结论中的一个例子所说明的那样：
We may call Eurydice forth from the world of the dead,but we cannot make her answer.As all historians know,the past is a great darkness, and filled with echoes. Voices may reach us from it;but what they say to us is imbued with the
我们可以从死者的世界里呼唤欧律狄刻，但我们无法回答她。正如所有历史学家都知道的那样，过去是一个巨大的黑暗，充满了 回声。声音可能会从它传到我们身边;但他们对我们说的话充满了
obscurity of the matrix out of which they come;and try as we may, we cannoi
他们所来自的母体的模糊性;尽管我们尽力而为，我们不能
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always decipher them precisely in the clearer lighi of our own day. (The
总是在我们这个时代更清晰的lighi中精确地破译它们。（该
Handmaids Tale,311)
使女的故事，311）
The differences between this passage and passages from Offred's narrative are clear.Rather than the fluid and unstructured language typical of Offred,Pieixoto uses sentences that are long and high struetured.He uses allusionsand jargon immediately recognizable only to scholars.Unlike Offred,he avoids the first person singular, preferring the plural"we³which places him firmly within a tradition of scholarly historical work.Finally,the lectures format itself,with its assumption of authority and
这段话与奥弗雷德叙述中的段落之间的差异是显而易见的。Pieixoto 没有使用 Offred 典型的流畅和非结构化的语言，而是使用长而高结构的句子。他使用只有学者才能立即识别的典故和行话。与Offred 不同，他避免使用第一人称单数，而更喜欢复数“we³”，这使他牢牢地处于学术历史工作的传统中。最后，讲座本身的格式，具有权威性和
hierarchy illustrates the law of the father and embodies masculine culture.
等级制度说明了父亲的法则，体现了男性文化。
In fact,the Historical Notes undermine the emancipator potential that French feminists would attribute to Offred's narrative.Like the Freneh feminists,Atwood,as a writer, would rather go off into the byways and is interested in edges, undertows, permutations,in taking things that might be viewed as eccentric or marginal and
事实上，《历史笔记》削弱了法国女权主义者认为奥弗雷德的叙述具有解放的潜力。像弗雷内赫女权主义者一样，阿特伍德作为一名作家，宁愿走进小路，对边缘、暗流、排列感兴趣，对可能被视为古怪或边缘化的事物感兴趣。
pulling them into the center.She does not,however, believe that such writing will
把他们拉到中心。然而，她不相信这样的写作会
change the world or incite revolution.For although she believes there are political elements in just about everything she has ever written,she also thinks that it would be naive to believe that fiction can change lives.In her critique of French feminist theory, Atwood shows a feminism gone deviated.In suggesting that creative writing can
改变世界或煽动革命。因为尽管她相信 她写的几乎所有东西都含有政治元素，但她也认为认为小说可以改变生活是天真的。在她对法国女权主义理论的批评中，阿特伍德展示了一种偏离的女权主义。在建议创意写作可以
change cultural systems, French feminist theory embraces a method that Atwood
改变文化体系，法国女权主义理论采用一种方法
exposes as useless,as unable to create change.Through this critique,Atwood portrays a fictional feminism that is ultimately effective.Her critique of French feminist theory, then,suggests that feminist theory might want to consider the alternatives,to explore another road to equality.
暴露为无用，无法创造改变。通过这种批评，阿特伍德描绘了一种虚构的女权主义，但最终是有效的。因此，她对法国女权主义理论的批评表明，女权主义理论可能想要考虑其他选择，以探索另一条通往平等的道路。
28
章 Four
四 Critiquing
批判 Cultural
文化 Feminism
女权主义
Chapter Four Critiquing Cultural Feminism
第四章批判文化女权主义
Cultural Feminism
文化女权主义
Cultural feminism is an important trend of thought that emerged during the first wave of Women's Rights Movement in the United States.Cultural feminism attributes to those differences distinetive and superior virtues in women. What women share,in
文化女权主义是在美国第一波女权运动期间出现的重要思潮。女性分享的内容
this perspective,provides a basis for "sisterhood³,or unity, solidarity and shared
这一观点，为“姐妹情谊³”或团结、团结和共享提供了基础
identiy.As two different kinds of thoughts,cultural feminism and liberal feminism are also inseparably complementary to each other,giving rise to the new woman in the American society of the era. During a certain period of time,cultural feminism enabled American women to find their proper sphere of social activities and struggle
身份。文化女权主义和自由女权主义作为两种不同的思想，也密不可分地互补，催生了那个时代美国社会的新女性。在一段时间内，文化女权主义使美国女性能够找到合适的社会活动和斗争领域
for their political right.
为了他们的政治权利。
As we stated in the last chapter, some criticsfelt that Atwood used The Handmaids Tale to critique certain feminist philosophies,French feminist theory among them.Cultural feminism also falls under Atwood's critical eye.Thematically,
正如我们在上一章中所说，一些评论家认为阿特伍德利用《使女的故事》来批判某些女权主义哲学，其中包括法国女权主义理论。文化女权主义也受到阿特伍德的批判。专题
the novel portrays feminism through two major characters: Offred's mother,and
小说通过两个主要人物描绘了女权主义：奥弗雷德的母亲，以及
Moira,Offred's best friend. Both espouse a kind of cultural feminism which proclaims women superior to men Alice Echols,in her book Daring to Be Bad, defines cultural feminism as"a movement aimed at reversing the cultural valuation of the male and devaluation of the female.…cultural feminists were generally essentialistswho sought to celebrate femaleness.…and to organize women around the
莫伊拉，奥弗雷德最好的朋友。 两者都拥护 一种文化女权主义，宣称女性优于男性爱丽丝·埃科尔斯 （Alice Echols） 在她的著作《敢于做坏》中，将文化女权主义定义为“一场旨在扭转男性的文化评价 和女性贬值 的运动......文化女权主义者通常是试图颂扬女性气质的本质主义者......并围绕
principle of female difference.y44 Cultural feminist politics were rooted in biology,
女性差异原则。y44文化女权主义政治植根于生物学，
and the issues this theoryfocused on grew out of an interest in female difference.For example,cultural feminists organized anti-pornography campaigns not only because they fo und such literature demeaning to women, but also because they thought women were uninterestedin pornography since they were considered less sexually driven.They worked on reproductive rights in part because they felt men should be excluded from this most basic of female biological abilities.They sought to create
而这个理论所关注的问题源于对女性差异的兴趣。例如，文化女权主义者组织了反色情运动，不仅因为他们支持这种贬低女性的文学作品，还因为他们认为女性对色情不感兴趣，因为她们被认为不那么性驱动。他们致力于生殖权利，部分原因是他们认为男性应该被排除在女性最基本的生理能力之外。他们试图创造
44 Alice Echols,Daring to Be Bad:Radical Feminism in America, 1967-1975 (Minneapolis:University of
44爱丽丝·埃科尔斯，《敢于做坏：美国的激进女权主义，1967-1975》（明尼阿波利斯：大学
Minnesota Press,1989)6.
明尼苏达出版社，1989 年）6。
29
女权扩张论者 Reading
读数 of
之 The
这 Handmaid's
使女 Tale
故事
alternative female institutions,such as creditunions,health centers,bookstores and so on,as a first step toward creatinga women's culture,the ultimate goal of cultural feminism. For these feminists,sisterhood wasn't simply powerful,it was everything,
另类女性机构，如信用合作社、健康中心、书店等，作为创造女性文化的第一步，文化女性主义的最终目标。对于这些女权主义者来说，姐妹情谊不仅仅是强大的，而是一切，
and to be truly free,they felt women must live together in a world free of male
而要真正自由，他们认为女性必须共同生活在一个没有男性的世界里
influences.
影响。
Antagonism from female
来自女性的拮抗
Offred's mother is clearly meant to be a eultural feminist.In her words,“A man is just a woman's strategy for making other women..There is something missing in men, even the nice ones. They aren't a patch on a woman exeept they're better at fixing cars and playing football,just what we need for the improvement of the human
奥弗雷德的母亲显然注定要成为一个优秀的女权主义者。用她的话说，“男人只是女人塑造其他女人的策略..男人身上缺少一些东西，即使是那些善良的人。他们不是女人的补丁，因为他们更擅长修理汽车和踢足球，正是我们人类进步所需要的
race,right?³(The Handmaid s Tale,120)Like the cultural feminists Echols describes,
种族，对吧？³（The Handmaids Tale，120）就像文化女权主义者Echols所描述的那样，
Offred's mother believes that what the human race needs is the formation of a woman's culture.And,in Gilead, she gets just that.In many ways, Gilead is a woman's culture that is organized around the principle of sexual difference.Women's roles are clearly defined--theyare either Wives or Marthas or Handmaids or Aunts. Each group has specific tasks based on traditional female roles.Wives serve as companions to the male Commanders; Marthas do housework and cooking; Handmaids bear children, and Aunts enforce the rules and keep the system running smoothly.No one woman is required to do it all(unless she is an Econowife,a woman of very low status).Women seldomsocializewith men; in fact, men and women usually interact only during the sexual ceremony Gilead requires for reproduction.
Offred 的母亲认为，人类需要的是女性文化的形成。而且，在基列，她得到了这一点。在许多方面，基列国是一种围绕性别差异原则组织起来的女性文化。女性的角色被明确定义——她们要么是妻子，要么是玛莎，要么是女仆，要么是阿姨。 每个组都有基于传统女性角色的特定任务。妻子是男性指挥官的伴侣;玛莎做家务和做饭; 女仆生孩子，阿姨们执行规则并保持系统平稳运行。没有一个女人被要求做所有的事情（除非她是一个经济妻子，一个地位非常低的女人）。女性很少与男性交往;事实上，男人和女人通常只在基列为生育而要求的性仪式期间互动。
Because Gilead has been experiencing a disastrous decline in birth rates,birth and motherhood become central to this society, and women, rather than medical professionals,control the process. When a handmaid gives birth, other handmaids, wives, and aunts all gather at her side.They serve as collective midwives,coaching
由于基列的出生率一直在经历灾难性的下降，出生和生育成为这个社会的中心，而女性，而不是医疗专业人员，控制着这个过程。当一个女仆生下孩子时，其他的侍女、妻子和阿姨都聚集在她的身边。他们担任集体助产士、教练
her through naturalchildbirth, comforting her after the child is born. Doctors are not a
她通过自然分娩，在孩子出生后安慰她。医生不是
part of the process unless something goes seriously wrong. When Offred attends Janine's birthing ceremony, she looks around at the assembled women and thinks, Mother.Wherever you may be.…You wanted a women's culture.Well, now there
除非出现 严重错误。当奥弗雷德参加珍妮的出生仪式时，她环顾四周，看着聚集在一起的妇女，心想，妈妈，无论你在哪里......你想要一种女性文化。好吧，现在有
30
章 Four
四 Critiquing
批判 Cultural
文化 Feminism
女权主义
is one.It isn't what you meant,but it exists.³(The Handmaids Tale,127)
是1 个。这不是你的意思，但它存在。³（使女的故事，127）
But of course,Gilead is nothing like what Offred's mother means when she hopes for a women's culture.Although women in Gilead rarely see men, they are entirely controlled by men. They can do nothing without maleappro val.And they do not even control reproductive issues as Offred suggests during the birthing ceremony. Rather, men controlevery aspect ofreproductionexcept birth.For example, women in The Handmaids Tale never initiate sex. Instead, men create the"Ceremony³.This practice takes place only when the Handmaid is fertile and is intended only for
但当然，基列与 Offred 的母亲 希望女性文化时的含义完全不同。虽然基列的女人很少见到男人，但她们完全被男人控制。没有男性 appro val，他们什么也做不了。他们甚至没有像奥弗雷德在分娩仪式上所说的那样控制生殖问题。 相反，男人控制着除了出生之外的再生产的各个方面。例如，《使女的故事》中的女性从不主动发生性行为。相反，男人创造了“仪式³.这种做法只有在女仆有生育能力时才会发生，并且仅用于
reproduction.As Offred says,"It has nothing to do with sexual desire,at least for me,
繁殖。正如Offred所说，“这与性欲无关，至少对我来说是这样，
and certainly not for Serena.Arousal and orgasm are no longer thought necessary; they would be a symptom of frivolity"(The Handmaid's Tale,94)Abortion is completely forbidden;abortionists and their clients are hanged.According to Linda Alcoff, reproductive rights were an especially important part of cultural feminist politics. 45 Given that these politics were rooted in biology,control over her own body
当然对 Serena 来说也不是。唤醒和性高潮不再被认为是必要的; 他们将是轻浮的症状“（使女的故事，94）堕胎是完全禁止的;堕胎者及其客户被绞死。根据琳达·阿尔科夫 （Linda Alcoff） 的说法，生殖权利是文化女权主义政治中特别重要的一部分。45鉴于这些政治植根于生物学，对自己身体的控制
was particularly important to every turn Far from the women's culture Offred's
对每一个转折点都特别重要远离女性文化Offred 的
mother desires,then,Gilead is a perversion of that culture.While women are valued for their biological capabilities and live in isolation from men,they are also seen as only bio logicalbeings and are completely oppressed.
母亲的愿望，那么，基列就是那种文化的歪曲。虽然女性因其生物能力而受到重视，与男性隔离生活，但她们也被视为只是生物逻辑生物，完全受到压迫。
We see another example of a distorted women's eulture in The Handmaid s Tale as well.Moira,Offred’s friend,declares to be a lesbian and always argues with Offred about the necessity of having men in their world.Moira,the novel's other self-proclaimed feminist character, takes a position somewhat similar to that of
我们在《使女的故事》中也看到了另一个扭曲的女性形象的例子。奥弗雷德的朋友莫伊拉自称是女同性恋者，并且总是与奥弗雷德争论他们的世界里有男人的必要性。小说中另一个自称是女权主义的人物莫伊拉的立场与
Offred's mother.Although Moira is a generation younger and takes a slightly different approach to feminism,she,too,wishes for a women's eulture,this time in the form of a lesbian-separatist community.Offred is skeptical and thinks that“if Moira thought
奥弗雷德的母亲。尽管 Moira 年轻一代，对女权主义的态度也略有不同，但她也希望出现女性的eulture，这次是以女同性恋分离主义社区的形式。奥弗雷德对此持怀疑态度，并认为“如果莫伊拉认为
she could create Utopia by shutting herself up in a women-only enclave she was sadly mistaken.Men were not just going to go away.…Youcouldn't just ignore them".(The Handmaids Tale,172)And Offred is right,for like Offred's mother,Moira does get a
她可以通过将自己关在一个仅限女性的飞地中来创造乌托邦，她很遗憾地错了。男人不会就这样消失......你不能就这样忽视他们”。（该 使女的故事，172）奥弗雷德是对的，因为就像奥弗雷德的母亲一样，莫伊拉确实得到了
45 Linda Alcoff,Cultural Feminism Versus Post-Struduralism:The Identity Crisis in Feminist Theory,"signs
45琳达·阿尔科夫（Linda Alcoff），《文化女权主义与后传统主义：女权主义理论中的身份危机》（Cultural Feminism VersusPost-Struduralism： TheIdentityCrisisinFeministTheory），“标志”
13.3(Summer 1988):408-14.
13.3（1988 年夏季）：408-14。
31
女权主义对《使女》的解读Tale
故事
perverted version of her women's culture in Gilead.After trying to escape from Gilead,Moira is captured and sentenced to Jezebel's,a brothel serving high-level Commanders.Although she still has to see men,she claims,"It's not so bad,there are
在试图逃离 基列后，莫伊拉被抓获并被判入耶洗别的妓院，这是一家为高级指挥官服务的妓院，虽然她仍然需要见男人，但她声称，“还不错，有
lots of women around.Butchparadise,you might call it".(The Handmaids Tale,249) But despite her bravado,Moira is saddened and resigned.After all,she is a captive, unable to escape or rebel on pain of banishment to the Colonies and eventual death Through these two horrifying versions of women's culture,The Handmaids Tale
周围有很多女人。Butchparadise，你可以称它为“.（使女的故事，249）但是，尽管她虚张声势，莫伊拉还是感到难过并无奈。毕竟，她是一个俘虏，在被放逐到殖民地并最终死亡的痛苦中无法逃脱或反抗通过这两个可怕的女性文化版本，使女的故事
criticizes cultural feminism, suggesting, as Gayle Greene puts it,that“Gilead has
批评文化女权主义，正如盖尔·格林（GayleGreene）所说，“基列已经
been brought about partly because feminism has lost sight of the larger issues and
部分原因是女权主义忽视了更大的问题，并且
failed as an effective foree in society".46 In so doing,it adds yet another element to
作为社会的有效前者失败了“46这样做，它又增加了另一个因素
the picture of fictional feminism as ineffectual and futile.
虚构的女权主义是无效和徒劳的。
Ironically, the kinds of political activities that Offred's mother and Moira participate in“Take Back the Night"marehes,abortion rights demonstrations and anti-pornography book burnings-lead, at leastin part, to these perversions of women's culture.Historically,eultural feminism,in its attack on pornography, formed an unhappy alliance with the New Right.In the United States in the 1980s,supporters of anti-porn legislation included eultural feminists,Christian fundamentalists,the Eagle Forum and the Moral Majority.In Gilead,Christian fundamentalists seize power and use their anti-porn stance to pacify at least some feminists.One of the first moves the Gileadean government makes is to close the Pornomarts and banish the Feels on Wheels and Bun-Dle Buggies,hence eliminating pornographic literature. People don't protest;in fact, most people are happy to see them go.It isn't long,
具有讽刺意味的是， 奥弗雷德的母亲和莫伊拉参与的“夺回黑夜”、堕胎权示威和反色情焚书等 各种政治活动，至少在一定程度上导致了这些变态。 女性文化。从历史上看，女性主义在对色情的攻击中，在 1980 年代与美国新 Right.In 形成了不愉快的联盟，反色情立法的支持者包括女性主义女权主义者、基督教原教旨主义者、鹰论坛和基列道德Majority.In，基督教原教旨主义者夺取了权力并利用他们的反色情的立场来安抚至少一些女权主义者。基列政府采取的首要行动之一就是关闭色情艺术，驱逐 Feels on Wheels 和 Bun-Dle Buggies，从而消除色情文学。 人们不抗议;事实上，大多数人都乐于看到他们离开。时间不长，
however, before all books are banned, and women are forbidden to read or write.
然而，在所有书籍都被禁止之前，女性被禁止阅读或写作。
Atwood implies that cultural feminists, like Moira and Offred's mother, are partially to blame for this.She suggests that cultural feminism is useless,even destructive.Her fictional feminists are activists, unlike those created by French,Irving or Updike,but they participate in actions more likely to harm women than to help them.Once again,
阿特伍德暗示，文化女权主义者，如 Moira 和 Offred 的母亲，对此负有部分责任。她认为文化女权主义是无用的，甚至是破坏性的。她虚构的女权主义者是活动家，与 French、Irving 或 Updike 创造的女权主义者不同，但她们参与的行动更有可能伤害女性而不是帮助她们。再来一次
Atwood urges us to consider the alternatives,to carry political positions to their
阿特伍德敦促我们考虑其他选择，将政治立场带到他们的
46 Gayle Greene,Choice of Evils,"rev.of The Handmaids Tale,by Margaret Atwood,The Womens Review of
46盖尔·格林（Gayle Greene），《恶的选择》（Choice ofEvils），《使女的故事》（TheHandmaidsTale）修订版，玛格丽特·阿特伍德（MargaretAtwood）著，《妇女评论》（The WomensReviewof
Books July 1986:34.ltalics in original.
书籍1986 年 7 月：34.ltalics原文。
32
章 Four
四 Critiquing
批判 Cultural
文化 Feminism
女权主义
logical extremes and to make sure we are on the road we wish to follow.
逻辑极端，并确保我们走在我们希望遵循的道路上。
Recuperating Romance in the Feminist Writing
在女权主义写作中恢复浪漫
Perhaps one of the most disturbing aspects of The Handmaids Tale is that Atwood does not suggest for either her readers or her characters viable alternate roads. In fact,if Offred escapes her predicament,it is through the most traditional of
也许《使女的故事》最令人不安的方面之一是，阿特伍德没有为她的读者或她的角色建议可行的替代道路。 其实，如果Offred摆脱了她的困境，那就是通过最传统的
methods heterosexual romance. Like Marilyn French's The Bleeding Heart,
方法异性恋浪漫。就像玛丽莲·弗兰奇 （Marilyn French） 的《流血的心》一样，
Atwood's novel is organized around the heterosexual romance plot, which according to Rachel Blau Duplessis,features“the iconography of love,the postures of yearning. pleasing, choosing,slipping, falling, and failing…… y,47 Offred's relationship with Nick exhibits these characteristics.Certainly the language in these passage echoes that of traditional romance.It is not only the language that illustrates its allegiance to the romance genre,but also the plot itself.In her study of popular romance fiction, Janie
阿特伍德的小说围绕异性恋浪漫情节组织，根据雷切尔·布劳·杜普莱西斯 （Rachel Blau Duplessis） 的说法，该情节以“爱情的形象，渴望的姿态”为特色。 取悦、选择、滑倒、跌倒和失败......y，47Offred与 Nick 的关系表现出这些特征。当然，这些段落中的语言与传统浪漫主义的语言相呼应。不仅语言说明了它对浪漫类型的忠诚，而且情节本身也是如此。在她对流行言情小说的研究中，珍妮
Radway describes the narrativestructure of the traditional romance. 48 Radway argues
拉德韦描述了传统浪漫故事的叙事结构。48拉德韦认为
that the typical romance opens with the heroine torn from her family and thrust into an unfamiliar and frightening environment.This upheaval"strips her of her familiar supports and her sense of herself as someone with aparticular place and a fixed identity.The mood of the romanee's opening pages,then,is nearly always set by the heroine's emotional isolation and her profound sense of loss.x49 The heroine soon meets the romantic hero,a man for whom she initially has mixed feelings.At first,the
典型的浪漫故事以女主人公与家人分离并被推入一个陌生而可怕的环境开始。这场剧变“剥夺了她熟悉的支持，也 剥夺了她作为拥有特定位置和固定身份的人的自我意识。因此，浪漫小说开篇的情绪几乎总是由女主人公的情感孤立和她深刻的失落感所决定的。49 女主人公很快就遇到了浪漫的男主人公，一个她最初对这个男人怀有复杂的感情。首先，
hero seems cold and distant and the relationship between the two characters is troubled.The hero soon proveshis love for the heroine,however,usually by reseuing her from some dangerous situation.The heroine responds with lo ve and passion and at this point,she restores her sense of identity through union with the hero.
英雄似乎冷漠而疏远 ，两个角色 之间的关系陷入困境。男主角很快就证明了他对女主角的爱，然而，通常是通过将她从一些危险的境地中解救出来。女主人公以热情和激情回应，在这一点上，她通过与男主角的结合恢复了自己的身份感。
The Handmaids Tale closely follows this narrative structure.It features Offred, an innocent and passive heroine,who is transported from her familiar and comfortable world into an evil and menacingone. Striped of familiar supports,Offred begins to
《使女的故事》紧跟这种叙事结构。它以Offred 为主角，一个天真而被动的女主角，她从她熟悉而舒适的世界被传送到一个邪恶而险恶的世界。熟悉的条纹支持，Offred 开始
47 Rachel Blau DuPlessis, Writing Beyond the Ending:Narrative Strategies of Twentieth-Century Women Writers
47雷切尔·布劳·杜普莱西斯（Rachel Blau DuPlessis），《超越结局的写作：二十世纪女作家的叙事策略》（WritingBeyondtheEnding：Narrative Strategies of Twentieth-CenturyWomenWriters）
(Bloomington,IN:Indian University Press,1985)2.
（布卢明顿，印第安纳州：印度大学出版社，1985 年）2.
48 Janice A.Radway,Reading the Romance: Women, Patriarch and Popular Literaiure (Chapel Hill, NC:
48珍妮丝·拉德韦（Janice A.Radway），《阅读浪漫：女性、族长和大众文学》（ReadingtheRomance：Women， PatriarchandPopularLiteraiure）（北卡罗来纳州教堂山：
University ofNorth Carolina Press,1984)134-150.
北卡罗来纳大学出版社，1984）134-150。
49 Ibid 135-36.
49同上135-36。
33
女权扩张论者 Reading
读数 of
之 The
这 Handmaid
婢女 s Tale
故事
lose her sense of self.She only begins to regain her lost identity and her sense of safety when she becomes involved with Nick,who is in many ways the typical romantic hero.He is strong,silent and like most romantic heroes,he initially appears untrustworthy. Offied believes that Nick might be a member of the Eyes,the Gileadean secret police.But,by the end of the novel,she must trust him.In a typical romantic twist,Offred encounters extreme danger from which Nick rescues her, thereby pro ving his trustworthiness and saving Offred's life.
失去自我意识。当她与尼克发生关系时，她才开始重新获得失去的身份和安全感 ，尼克在许多方面 都是典型的浪漫英雄。他坚强、沉默，就像大多数浪漫的英雄一样，他最初看起来不值得信赖。 Offied 认为 Nick 可能是 Gileadean 秘密警察 Eyes 的成员。但是，到小说的结尾，她必须信任他。在典型的浪漫转折中，奥弗雷德遇到了极端的危险 ，尼克从中救了她，从而证明了他的可信度并挽救了奥弗雷德的生命。
Several feminist critics have criticized Atwood for her use of the romance plot in The Handmaid s Tale.In faet,for Gayle Greene and Deborah Rosenfelt,Atwood's use of the romance plot removes the novel from the realm of feminist fiction altogether
几位女权主义评论家批评阿特伍德在《使女》中使用浪漫情节 Tale.In 对于盖尔·格林和黛博拉·罗森费尔特，阿特伍德对浪漫情节的使用将小说完全从女权主义小说的领域中移开
and pushes it into a eategory they call“post feminist fietion y50 According to Greene,
并将其推向他们称之为“后女权主义信仰y50的餐厅 根据格林的说法，
feminist novels privile ge women's bonding and female friendships; reject, marginalize or subvert heterosexual love and passion; and interrogate family and motherhood.The Handmaids Tale,in its recuperation of the romance plot,does reinstate heterosexua passion to a central position The novel also valorizes family re lationships and motherhood as Offred continually thinks about and idealizes her life
女权主义小说赋予女性纽带和女性友谊的特权;拒绝、边缘化或颠覆异性恋的爱和激情;并询问家庭和母性。《使女的故事》在对浪漫情节的恢复中，确实将异性恋的激情恢复到中心位置。小说还重视家庭关系和母爱，因为奥弗雷德不断思考和理想化她的一生
with Luke and their daughter.This is particularly interesting given that Luke is hardly an ideal man. He is patronizing; he claims that women are incapable of abstract though; he likes the fact that Offred is forced to be dependent upon him.But,
与 Luke 和他们的女儿一起。考虑到卢克几乎不是一个理想的男人，这一点特别有趣。他在居高临下;他声称女性无法抽象;他喜欢Offred被迫依赖他的事实。但
compared to Offred's situation in Gilead,life with Luke must look pretty good.It is
与奥弗雷德在基列的处境相比，与路加的生活看起来一定相当不错。它是
precisely this point that Gayle Greene finds disturbing about the novel to reject Gilead leave us no alternative but to endorse the old system,a regime that forbids all personal relationships makes ours look good.
正是盖尔·格林（Gayle Greene）认为拒绝基列的小说令人不安的这一点让我们别无选择，只能支持旧制度，一个禁止一切个人关系的制度使我们看起来不错。
The most disturbing element of Atwood's use of the romance plot is that,
阿特伍德使用浪漫情节最令人不安的元素是，
throughout the novel,heterosexual lo ve overpowers politics.For example,late in the novel,Offred is approached by Mayday,the underground resistance movement,and asked to help by providing information about her Commander.At first,she agrees, although she is frightened and her efforts are half-hearted at best.After she falls in
在整部小说中，异性恋压倒了政治。例如，在小说的后期，地下抵抗运动五月天找到奥弗雷德，并要求她先提供有关她 Commander.At 的信息，她同意了，尽管她很害怕，她的努力充其量只是三心二意。在她坠入
50 Gayle Greene,Choice of Evils,"rev.of The Handmaids Tale,by Margaret Atwood,The Womens Review of
50盖尔·格林（Gayle Greene），《恶的选择》（Choice ofEvils），《使女的故事》（TheHandmaids Tale）修订版，玛格丽特·阿特伍德（MargaretAtwood）著，《妇女评论》（The WomensReviewof
Books July 1986:200.
书籍1986 年 7 月：200。
34
Chapter Four Critiquing Cu ltural Feminism
第四章 批判 Cu 传统女权主义
love with Nick,however,she no longer wants to help.She tells Ofglen that she is too afraid and no longer wants to leave,eseape,cross the border to freedom She wants to be with Nick.Mayday,the political resistance movement, simply cannot overcome feelings of love.
爱上了 Nick，然而，她不再想帮忙。她告诉奥夫格伦，她太害怕了，不想再离开了，eseape，越过边境走向自由，她想 和尼克在一起。
Neither can the feminist political movement from pre-Gileadean times.Offred never participates in feminist politics.Certainly this is due in part to her stormy relationship with her mother,but her relationship with Luke also discourages her political participation When Offred and Luke begin dating, he is still married to another woman. Moira disapproves of the relationship,reminding Offred of her responsibility to other women, of sisterhood.Offred shrugs off these political reprimands,saying that she is in love,which clearly overcomes any notion of political solidarity.Later, after the Gileadean regime begins its takeover, women march in protest.Offred doesn't go to the marches,however,sinee Luke said it would be futile
前基列时代的女权主义政治运动也不能。奥弗雷德从不参与女权主义政治。当然，这部分是由于她与母亲的风雨飘摇的关系，但她与卢克的关系也阻碍了她的政治参与。当奥弗雷德和卢克开始约会时，他仍然与另一个女人结婚。莫伊拉不赞成这种关系，提醒奥弗雷德她 对其他女性的责任，姐妹情谊。奥弗雷德对这些政治谴责不屑一顾，说她恋爱了，这显然克服了任何政治团结的概念。后来，在基列政权开始接管后，妇女们游行抗议。Offred 没有参加游行，但是，sinee Luke 说这将是徒劳的
and she had to think about them,her family.Again,Offred rejects politics in favor of love.The novel's two feminist characters,Moira and Offred's mother are not involved in heterosexual romance. Moira is a lesbian,which is different,because the balance of
她必须考虑他们，她的家人。同样，Offred 拒绝政治，支持 爱情。小说中的两个女权主义人物，莫伊拉和奥弗雷德的母亲，并没有卷入异性恋浪漫。莫伊拉是女同性恋者，这是不同的，因为
power was
功率是
equal between women sexuality was an
女性之间的性行为平等
equal transaction Offred's
相等交易Offred 的
mother seems to have no relationship with any men.For these women, heterosexual lo ve and feminist polities eannot co-exist.Again, we see a fictional feminism where desire overpowers politics.Offred,then,is offered not an alternative road,but rather a
妈妈似乎和任何男人都没有关系。对于这些女性来说，异性恋和女权主义政体并不能共存。再一次，我们看到了一种虚构的女权主义，欲望压倒了政治。因此，提供的不是替代道路，而是一条
highly traditional one she finds happiness not through political ehange,but through
她不是通过政治手段，而是通过
the love of a man.
一个男人的爱。
The Reflection of Feminism in the Movie The Handmaids Tale
电影《使女的故事》中女权主义的反映
Although the novel may express the way of dealing with ambivalence about feminist,it is nonetheless full of explicit representations of feminism The film version of The Handmaid's Tale,makes several notable changes that affect the film's
虽然这部小说可能表达了处理对女权主义矛盾心理的方式，但它仍然充满了对女权主义的明确表现。电影版《使女的故事》做出了几个影响电影的显着变化
construction of fictional feminism.First of all,the film makes no mention of Gilead's refusal to allow women to read or write.And of course,without any discussion of language issues,the film version cannot comment on French feminist theory or the
虚构女权主义的建构。首先，这部电影没有提到基列拒绝让女性读书或写字。当然，在没有任何语言问题的讨论的情况下，电影版无法评论法国女权主义理论或
35
女权扩张论者 Reading
读数 of
之 The
这 Handmaid
婢女 s Tale
故事
re]ationships between language,gender and power. This is perhaps not surprising given that film,as a primarily visual rather than verbal medium,could not effectively present the complexities of Atwood's critique of poststructuralist feminist theory. Nevertheless,the film never discusses feminism explicitly, it contributes to the construction of fictional feminism Therefore,we cannot deny that it is a kind of
语言、性别和权力之间的关系。这也许并不奇怪，因为电影作为一种主要的视觉而非语言媒介，无法有效地呈现阿特伍德对后结构主义女权主义理论的批判的复杂性。 然而，这部电影从未明确地讨论过女权主义，它有助于构建虚构的女权主义，因此，我们不能否认它是一种
reflection on the fictional feminism.
对虚构女权主义的反思。
In addition,Pinter's script contains no characters who claim feminism.Offred's mother has disappeared from the film;thus,we hear no diseussions of pre-Gileadean feminist issues and actions. Without this contextual back ground,Gilead seems to
此外，品特的剧本中没有声称女权主义的角色。奥弗雷德的母亲从电影中消失了;因此，我们没有听到对前基列女权主义问题和行动的质疑。没有这个背景背景，基列似乎
spring from nowhere we have no idea what conditions brought about these
不知从何而来，我们不知道是什么条件导致了这些
cataclysmic changes.Atwood herself acknowledges that Offred's mother serves as a kind of shorthand for the past,and that without her,thescript fails to explain the dictatorship.Moira, while she claims lesbian sexuality, never mentions being a feminist.In fact,feminism is referred to only one time when Aunt Lydia is lecturing the new Handmaids on the evils of times past,we see behind her a screen playing a video of a 1970s-era feminist march.This image fills the screen for perhaps thirty seconds,is not discussed at this point and is never mentioned again.Since the film
灾难性的变化。阿特伍德自己也承认，奥弗雷德的母亲是过去的速记，没有她，剧本就无法解释独裁统治。莫伊拉虽然声称自己有女同性恋的性取向，但从未提到自己是 女权主义者。事实上，女权主义只被提到过一次，当莉迪亚阿姨向新任女仆们讲授过去的罪恶时，我们看到她身后的屏幕播放着 1970 年代女权主义游行的视频。这张图片填满了屏幕大概三十 秒，此时没有被讨论，也从未再次被提及。自电影
eliminates the feminist eharacters and never mentions feminism explicitly,it is unable
消除女性主义的评论者，也从未明确提及女性主义，是无法的
to critique cultural feminism in the way the novel does. Despite these changes, however, the film of The Handmaid's Tale still manages to contribute to the construction of fictional feminism -throughits reviews. Nearly all of the film's reviews foeus on feminist politics even though explicit references to feminism drop out of the film.In this seetion,then,I analyze the public discussion of the film and
以小说的方式批判文化女权主义 。 然而 ，尽管发生了这些变化，《使女的故事》这部电影仍然设法通过其评论为虚构女权主义的构建做出了贡献。 几乎所有 的电影评论都反对女权主义政治，尽管电影中没有明确提及女权主义。那么，在这篇文章中，我分析了这部电影的公众讨论和
suggest ways the re views contribute to fietional feminism
建议RE观点如何促进Fietional Feinism
Perhaps the absence of feminist messages and characters isdue to the film maker's fears about how investors,distributors and audiences would react to an explicitly feminist film.In order to assuage such fears,Atwood refused to write the screenplay.She told a British interviewer that financing for the film was very difficult
也许没有女权主义信息和角色是由于电影制作人担心投资者、发行商和观众会对一部明确的女权主义电影做出什么反应。为了平息这种恐惧，阿特伍德拒绝写剧本。她告诉一位英国采访者，这部电影的融资非常困难
to obtain,because “films about the oppression of women do not make money at the
要获得，因为“关于压迫女性的电影在
36
章 Four
四 Critiquing
批判 Cultural
文化 Feminism
女权主义
box office.With a female writer it would have been far harder".51 Even with a script but Pinter, a well-known male writer, however, producer Daniel Wilsom reported that every major studio turned the movie down because they were afraid it would cause controversy. Eventually the film was financed and distributed by an independent company, Cinecom. Still, the filmmakers wanted to be sure that
票房。如果有女性作家，情况会困难得多“51即使有 剧本，但著名男作家品特，制片人丹尼尔·威尔森 （Daniel Wilsom） 报告说，每个主要制片厂都拒绝了这部电影，因为他们担心它会引起争议。 最终，这部电影由一家独立公司 Cinecom 资助和发行 。尽管如此，电影制作人还是想确保
audiences weren't scared away by the film's political reputation, and they
观众并没有被这部电影的政治声誉吓跑，他们
consistently assured journalists that the film wasn't about political issues,it was about human issue. For example, director Volker Schlondorff told interviewer Sheila Johnston that the film was about“the war of the sexes much more than any political war.It's about female sexuality and very much about how your emotional needs may be exploited."52 He also claimed the mo vie was not a feminist sort of doom and
他始终向记者保证，这部电影不是关于政治问题，而是关于人类问题。 例如，导演沃尔克·施隆多夫 （Volker Schlondorff） 告诉采访者希拉·约翰斯顿 （Sheila Johnston），这部电影是关于“两性战争的，而不是任何政治战争。它关乎女性的性行为，也关乎你的情感需求如何 被利用。52他还声称movie不是女权主义的厄运，并且
gloom tale.He thought that it was much more about what happened to people under
阴郁的故事。他认为这更多的是关于人们在以下地区发生的事情
certain circumstances.
某些情况。
Despite the careful scriptand the filmmakers³assurances, both critics and audiences saw the film as a political one.In fact,the film was used to promote a number of political causes.For example,the Hollywood Policy Center hosted a Washington D.C.premiere of the film to promote abortion rights.The screening was attended by severa members of Congress as well as abortion rights activists, Hollywood stars and Atwood herself.Organizers hoped that the screening,which took
尽管剧本谨慎，电影制作人也做出了保证，但评论家和观众都认为这部电影是一部政治电影。事实上，这部电影被用来 宣传许多 政治事业。例如，好莱坞政策中心（Hollywood Policy Center）在华盛顿特区举办了该电影的首映式，以促进堕胎权。 出席放映会的有几位国会议员以及堕胎权活动家、好莱坞明星和阿特伍德本人。组织者希望这次放映
place just prior to Congressional hearings on reproductive rights,would influence members of Congress to vote to uphold abortion rights.Amnesty Internationalj an organization that works for worldwide freedom and human rights,held a similar screening in Century City,California.Again,both politicians and celebrities attended,
在 国会关于生殖权利的听证会之前，将影响国会议员投票维护堕胎权。国际特赦组织（Amnesty Internationalj）是一个致力于全球自由和人权的组织，在加利福尼亚州世纪城（Century City）举行了类似的放映会。
and the benefit raised approximately 20,000 dollars to support Amnesty programs. The film received less positive attention from political groups;it sparked several protests from the religious right.A conservative newspaper, The Washington Times, reported that The Handmaid s Tale made only 1.2 million dollars in box-office receipts and attributed this loss to Christian boyeotts.Clearly,these groups felt the
该福利筹集了大约 20,000 美元来支持 Amnesty 计划。 这部电影受到政治团体的积极 关注较少;它引发了宗教右翼的几次抗议。保守派报纸《华盛顿时报》报道说，《使女的故事》只获得了120 万美元的票房收入，并将这一损失归咎于克里斯蒂安·博伊茨。显然，这些群体感受到了
51 Cassandra Jardine,Not Quite Doing It by the Book,"The Daily Telegraph 31 Oetober 1990:15.
51卡桑德拉·贾丁（Cassandra Jardine），《不完全按照书本来做》，“每日电讯报31Oetober1990：15。
52 Sheila Johnston,The Double Standards at Play,"The lndependent 26 October 1990:36.
52希拉·约翰斯顿，《双重标准在发挥作用》，“独立者”，1990 年 10 月 26日：36。
37
对《使女》的女权主义解读Tale
故事
movie was political,and they exploited it for their own political ends.
电影是政治性的，他们利用它来达到自己的政治目的。
Critics also saw the film as politieal.A few concentrated on what they perceived as the film's anti-Christianbias. Most critics,however, focused on the novel's feminist politics.In yet another version of the debate about polemics and art, some critics approved the film's feminism, while others indicated that the politics
评论家还认为这部电影具有政治色彩。一些人专注于他们认为这部电影的反基督教偏见。 然而，大多数评论家都关注小说中的女权主义政治。在关于论战和艺术的辩论的另一个版本中，一些评论家赞同这部电影的女权主义，而另一些评论家则表示政治
undermined the film as art.Harper Barnes,for example,praises the film's power and
破坏了电影作为艺术的地位。例如，哈珀·巴恩斯 （Harper Barnes） 称赞这部电影的力量和
claims"the plot is made even more believable by the richness and humanity of the subtext-for example,the movie is certainly feminist,and the prime villains are male, but the decent people are of both sexes. 553 On the other hand,Thomas,writing for the same publication, indicts the film as"strident feminism's last gasp,and a distinctly unpleasant gasp it is v54
声称“潜台词的丰富性和人性使情节更加可信——例如，这部电影当然是女权主义的，主要反派是男性，但正派的人是男女。553另一方面，托马斯为 同一出版物撰稿，控诉这部电影是“尖锐的女权主义的最后一口气，而且是明显令人不快的喘息 v54
In proclaiming the film feminist and in foeusing on its perceived feminist politics, the crities themselves create a version of fictional feminism.The pieture they create is,· not surprisingly, much less complex and more stereotypical than that created by the
在宣扬这部电影的女权主义和反对其所认为的女权主义政治时，批评家们自己创造了一个虚构的女权主义版本。他们创造的 pieture 是，·毫不奇怪，比
novel.In one stereotypieal move,the reviews suggest that the film,because it takes
小说。在一个刻板的举动中，评论表明这部电影，因为它需要
what they see as a feminist viewpoint,is anti-male.Newsweek³s Jack Kroll,for instance,declares The Handmaid's Tale an extension of the worst-case anti-male feminism of the last twenty years. 55 Interestingly, while it is true that many critics
他们认为女权主义的观点是反男性的。例如，《新闻周刊》的杰克·克罗尔 （Jack Kroll） 宣称《使女的故事》是过去20年最糟糕的反男性女权主义的延伸。55有趣的是，虽然许多批评家确实
agree that the film is anti-male,they disagree as to the extent of the anti-male sentiment.Clearly,these reviews,in describing the film as both anti-male and angry, augment the stereotype of the strident man-hating feminist.
同意这部电影是反男性的，但他们不同意 反男性情绪的程度。显然，这些评论将这部电影描述为既反男性又愤怒，加剧了尖锐的仇恨男性的女权主义者的刻板印象。
These reviews help the construct fictional feminism in other ways as well.I have argued earlier in this paper that many texts present fictional feminists who are ineffective,who never really do anything.They may talk a lot,but for the most part, theyare simply controlled byevents.The reviews of The Handmaid s Tale suggest that the film contributes to this picture.Many of the reviews eonsider Offred a passive
这些评论也以其他方式帮助构建虚构的女权主义。我在本文 前面已经指出，许多文本都描绘了虚构的女权主义者，她们是无效的，从来没有真正做过任何事情。他们可能说了很多话，但在大多数情况下，他们只是被事件所控制。对《使女的故事》的评论表明，这部电影为这幅画做出了贡献。许多评论 eonsider Offred a passive
figure.What is most interesting about the picture of fictional feminism the re views
数字。关于虚构女权主义的画面，最有趣的是 review
53 Harper Barnes,*Subtle Moments Give Allegory Powerful Vbice:The Handmaid's Tale, St Louis
53哈珀·巴恩斯，*微妙的时刻赋予寓言强大的Vbice：使女的故事，圣路易斯
Post-Dispatch4 May 1990,Every day Magazine sec:3F.
Post-Dispatch1990年 5 月 4 日，每天杂志sec：3F。
54 Gale Thomas,Anti-Christian Bigotry Remains Aceeptable,"St.Louis Post-Dispatch 16 Mareh 1990:3C.
54盖尔·托马斯（Gale Thomas），《反基督教的偏执仍然可视》，“圣路易斯邮报16Mareh1990：3C。
55 Jack Kroll,Newsweek 26 March 90,in Film Review Annual 1991,ed.
55JackKroll，《新闻周刊》，90 年 3 月26 日，载于《电影评论年刊》，1991 年，编辑。
38
章 Four
四 Critiquing
批判 Cultural
文化 Feminism
女权主义
create is that it seems to arise not from the film,but from the critics own expeetations
创造是它似乎不是来自电影，而是来自评论家自己的经历
of the film and of feminism.In other words,these images of fictional feminists as man-hating,passive and apolitical do not come from the film; in fact,the film portrays nearly opposite attributes.Nothing in the film supports the critic's contention that it is anti-male.While it is true that men have created the Republic of Gilead,a society that is harmful to women, we seldom see men hurting women in any way.In fact,it is women who do all of the violence in the movie,most of it directs toward other women.It is a woman who decides which women are saved and which are sent to the colonies to die.It is a woman who indoctrinates the Handmaids into Gileadean culture and punishes them when they disobey.It is women who hang a Handmaid for
关于电影和女权主义。换句话说，这些虚构的女权主义者憎恨男人、消极和非政治的形象并非来自电影;事实上，这部电影描绘了几乎相反的属性。电影中没有任何内容支持评论家关于它是反男性的论点。虽然男性确实创造了基列共和国，一个对女性有害的社会，但我们很少看到男性以任何方式伤害女性。事实上，电影中所有的暴力都是女性造成的，其中大部分是针对其他女性的。由女性决定哪些女性得救，哪些女性被送往殖民地死亡。这是一个女人向使女灌输基列文化，并在她们不服从时惩罚她们。是女人挂了个使女
fornicating with aphysician, and women who tear a rapist limb from limb.Offred
与医生通奸，以及将强奸犯的肢体从肢体上撕下来的女人。奥弗雷德
understands that her enemy as a Handmaid is Serena Joy, the Wife, not the Commander.This becomes clear when toward the end of the film; Serena Joyfinds out that the Commander has taken Offired to Jezebel's.Serena Joy is furious and
明白她作为女仆的敌人是 妻子塞雷娜·乔伊，而不是指挥官。SerenaJoy发现指挥官已经带Offired去了Jezebel's。SerenaJoy很生气，
promises retaliation; Offred begs the Commander to save her,but he refuses.Serena
承诺报复;奥弗雷德恳求指挥官救她，但他拒绝了。瑟 琳 娜
Joy clearly holds the reins here,not the Commander
显然是乔伊在这里掌控着缰绳，而不是指挥官
Even those women who do not have state-sanctioned power are vio lent and cruel toward other women.For example,a group of Handmaids coax a story of gang rape from Janine,another Handmaid,and then proceed to cast blame on her and taunt her until she collapses in tears.While it's clearly that Aunt Lydia encourages this behavior, most of the Handmaids seem to enjoy the exercise.Women in this film,then,become aggressors,willingly participating in the humiliation,harm and degradation of other
即使是那些没有国家认可权力的妇女，对其他妇女也是粗暴和残忍的。例如，一群女仆哄骗另一位女仆珍妮 （Janine） 讲述轮奸的故事，然后继续责备她并嘲讽她，直到她哭泣。虽然很明显莉迪亚阿姨鼓励这种行为，但大多数女仆似乎都喜欢这种运动。因此，这部电影中的女性成为侵略者，心甘情愿地参与他人的羞辱、伤害和贬低
women
女人
Male aggression in the film is far less frequent and less vio lent.The only time we
电影中的男性攻击行为要少得多，也少得多。我们唯一一次
actually see men acting violently is at the very beginning of the film.In the opening scenes,we see male so ldiers rounding up women and people of color and forcing them into cargo trains and trucks.Although we are never told where these trains are headed,because of the deliberate resemblance between these scenes and film images of the Holocaust, we are certain that these people are being sent to their death.All
其实看到男人的暴力行为是在电影的一开始。在开场的场景中，我们看到男性围捕女性和有色人种，并强迫他们进入货运火车和卡车。虽然我们从未被告知这些火车的目的地，但由于这些场景与大屠杀的电影图像之间故意相似，我们确信这些人是被送去送死的。都
39
A Fem inist Reading of The Handmaids Tale
《使女的故事》的女性本能主义解读
other instancesof male violence are more indirect and removed.For example, we frequently see battle scenes on the Commander³s television which plays in the background of some scenes, but we never actually see the soldiers who are fighting. We hear that the go vernment is punishing insurgents,but the only political resistor we
其他男性暴力的例子则更加间接和被消除。例如，我们经常在Commander³s 电视上看到战斗场面，它在某些场景的背景中播放，但我们从未真正看到正在战斗的士兵。 我们听说政府正在惩罚叛乱分子，但我们唯一的政治抵抗者
see killed is the rapist dismembered by the Handmaids.Ofglen tells Offred that he
看到被杀的是被使女肢解的强奸犯。奥夫格伦告诉奥弗雷德，他
wasn't really a rapist,but a member ofthe resistance.
他并不是真正的强奸犯，而是抵抗组织的一员。
Not only is male violence muted in the film,but men are the only heroes.For example, we see mostly male resistance fighters.Nick is clearly a member of the resistance and he sends Offred off to safety with several other male members of the resistance.The film hints that Ofglen may also be a member ofthe resistance,but she appears only briefly and then disappears with no explanation.There seems to be no
不仅男性暴力在电影中被淡化，而且男性是唯一的英雄。例如，我们看到的主要是男性抵抗战士。尼克显然是抵抗组织的一员，他将奥弗雷德和其他几名男性抵抗组织成员送到了安全的地方。电影暗示奥夫格伦也可能是抵抗组织的一员，但她只短暂出现，然后就消失了，没有解释。似乎没有
organized resistance to the regime on the part of women This combination of violent
妇女对政权的有组织抵抗这种暴力的组合
women and heroic men hardly suggests the anti-male attitude the critics detect.In this case,then,the picture of the man-hating fictional feminist comes not from the film, but from the reviews themselves.
《女人》和《英雄的男人》几乎不表明批评者所察觉到的反男性态度。那么，在这种情况下，那个憎恨男人的虚构女权主义者的形象不是来自电影，而是来自评论本身。
The only female resister we see in the film is Offred herself. Far from the passive figure the reviewers point,Offred actively resists the Gileadean regime and takes her future into her own hands.Offred's earliest rebellions are small ones;she makes sure Moira,Nick,even the Commander,know her real name is Kate;she hurls a glass of milk against a wall;she sneaks forbidden cigarettes with Moira.She more seriously resists Gileandean domination when she helps Moira escape from the Red Center. Offred and Moira lure Aunt Lydia into the restroom where they overpower her and tie her to a urinal Moira undresses Aunt Lydia and takes her clothes,taunting her all the time.While Offred acts as a lookout, Moira dresses in Aunt Lydia's clothes and
我们在电影中看到的唯一女性抵抗者是奥弗雷德本人。与评论者指出的被动人物不同，奥弗雷德积极抵制基列政权，并将自己的未来掌握在自己手中。奥弗雷德最早的反抗是小规模的;她确保莫伊拉、尼克，甚至指挥官，都知道她的真名是凯特;她把一杯 牛奶扔到墙上;她和莫伊拉偷地抽着违禁香烟，当她帮助莫伊拉逃离红区中心时，她更加认真地抵抗吉利安迪安的统治。奥弗雷德和莫伊拉引诱莉迪亚阿姨进入洗手间，在那里他们制服了她并将她绑在小便池上。莫伊拉脱掉了莉迪亚阿姨的衣服，拿走了她的衣服，一直嘲笑她。当奥弗雷德担任瞭望员时，莫伊拉穿着莉迪亚阿姨的衣服和
simply walks out of the Red Center,cloaked in the authority of an Aunt.Even though
干脆走出红中心，披着阿姨的权威。
Moira is eventually recaptured,thescene suggests that Offred is willing to take risks for freedom and prepares us for the much more violent act of resistance that occurs later in the film.
莫伊拉最终被重新抓获，这一幕表明奥弗雷德愿意为自由冒险 ，并为我们为电影后面发生的更加暴力的抵抗行为做好准备。
In a scene
在场景中
that
那
never appears
从不出现
in the novel,Offred is asked by Mayday to
在小说中，奥弗雷德被五月天要求
40
章 Four
四 Critiquing
批判 Cultural
文化 Feminism
女权主义
assassinate her Commander. Although she is at first reluctant, when a knife mysteriously appears in her dresser drawer,she takes it with her when she next meets the Commander shortly after Serena Joy discovers the illicit evening at Jezebel's.after
刺杀她的指挥官。 虽然她起初很 不情愿，但当一把刀神秘地出现在她的梳妆台抽屉里时，她在塞雷娜·乔伊发现 Jezebel's 的非法夜晚后不久再次见到指挥官时把它带走了。
the Commander refuses to help Offred eseape Serena Joy's wrath,Offied pulls out the knife and slices his throat,severing arteries.She runs out,leaving the Commander bleeding to death on the floor.This act leads her rescue by Mayday and her freedom These are hardly the acts of a passive woman Compared to the novel's Offred,this Offred is an active resister,a woman who takes matters into her own hands.Given
指挥官拒绝帮助 Offred 激怒 Serena Joy，Offied 拔出刀子切开他的喉咙，切断了动脉。她跑了出去，留下指挥官在地板上流血而死。这一行为导致她被五月天拯救和她的自由 这些几乎不是一个被动的女人的行为与小说中的 Offred 相比，这个 Offred是一个积极的反抗者，一个把事情掌握在自己手中的女人。鉴于
these incidents,the critics'contentions that Offred is passive are incongruous, as though they come less from the actions of the film and more from the critics' expectations of feminist action,that is,from fictional feminism itself.
这些事件，评论家认为奥弗雷德是被动的论点是不协调的，好像它们不是来自 电影的行动，而是来自评论家对女权主义行动的期望，也就是说，来自虚构的女权主义本身。
The disparity between the narrative of the film and the reviews tell us much about the dynamics ofpublie diseussion and about the workings of fictional feminism.· Most critics of this film had read the novel prior to seeing the film.In fact, reviews of The Handmaids Tale suggest that those crities'memories of and opinions about the
电影的叙事和评论之间的差异告诉我们很多关于公共消解的动态和虚构女权主义的运作。·这部电影的大多数评论家在看电影之前都读过这部小说。事实上，对《使女的故事》的评论表明，那些批评者对
no vel inevitably colored their reviews.The reviews³discussion of the language issue
没有VEL不可避免地为他们的评论增添了色彩。评论³语言问题的讨论
illustrates this point.As I mentioned above,the film never tells us that women in
说明了这一点。正如我上面提到的，这部电影从来没有告诉我们，女性在
Gilead are forbidden to read or write,yet reviews after review mentions this prohibition This information co uld only have come from the critics'knowledge of the novel.I would suggest that the crities'claim that Offred is a passive character work in much the same way.As I have demonstrated above,the film's Offred is not a passive character; thenovel's Offred,on the other hand, is quite passive.She resiststhe
基列被禁止 阅读或写作，但一篇又一篇的评论提到了这一禁令。这些信息只能来自评论家对小说的了解。我认为批评者声称 Offred 是一个被动角色的方式大致相同。正如我上面所证明的，这部电影的 Offred 不是一个被动的角色; 另一方面，小说的Offred 是相当被动的。她抗拒
Gileadean power structure only internally;she never takes action to make change.
基列式的权力结构只在内部;她从不采取行动来做出改变。
perhaps,then,the critics'impressions of the filmic Offred were tainted by their
也许，评论家对电影Offred的印象受到了他们的
memories of the novel=a character as charismatic and as passive as the novel's
小说的回忆=一个像小说一样有魅力和被动的人物
Offred is hard to forget.
Offred很难忘记。
Although thereviews of The Handmaids Tale add to the cultural picture of fictional feminism,I would suggest that they are also influenced by fictional feminism. In other words,critics bring to the theater their own opinions about feminism,
尽管《使女的故事》的评论增加了虚构女权主义的文化图景，但我认为它们也受到了虚构女权主义的影响。 换句话说，批评家们把他们自己对女权主义的看法带到了剧院，
41
女权主义对《使女的故事》的解读
opinions that are influenced by stereotypes of feminism current in American eulture. These opinionsthen affect their reading of the film.In this case,the critics saw feminism in a film that never mentions feminism at all; more specifically,they could clearly deseribe the attributes of that feminism.This may be becauseany film that deals with women's oppression and focuses on the issue of reproductive rights will be
这些观点受到美国主流中女权主义刻板印象的影响。这些观点会影响他们对电影的阅读。在这种情况下，评论家 在一部根本没有提到女权主义的电影中看到了女权主义; 更具体地说，他们显然可以描绘出这种女权主义的属性。这可能是因为任何涉及女性压迫并关注生殖权利问题的电影都将是
read as feminist.But it may also be true that those reviews that claim the film portrays feminist politics may be basing their claims more on the novel than on the film.This possibility is reinforced by the fact that the one critic who claims to have never read
读作女权主义者。但也可能是，那些声称这部电影描绘了女权主义政治的评论可能更多地基于小说而不是电影。这一事实强化了这种可能性，即一位声称从未阅读过
the book, comes to the theaterwithout expectations,and what she sees is a film that
这本书，毫无期待地来到影院，她看到的是一部
portrays misogyny and heterosexism
描绘厌女症和异性恋
42
Chapter Five Conclusion
第五章结论
Chapter Five Conclusion
第五章结论
In The Handmaids Tale,Margaret portrayed the life and psycho logical states of women,explored alternatives for the future development of feminism and foeused on how to change the fate of women in a patriarchal society.Aceording to what revealed in the last chapter,fictional feminists are almost all regarded as anti-male;in fact,this
在《使女的故事》中，玛格丽特描绘了女性的生活和心理逻辑状态 ，探索了女权主义未来发展的替代方案，并就如何改变父权社会中女性的命运进行了讨论。与上一章所揭示的内容相吻合，虚构的女权主义者几乎都被视为反男性的;其实这个
idea pervades the cultural images of feminism.Thus,if critics see a film as feministic, they tend to believe that it is also anti-male.Here the idea of fictional feminism comes full circle fictional feminism declares that feminism is anti-male;this film is read as feministie;thus,the film is declared anti-male,which adds to the picture of fictional
理念渗透到女权主义的文化形象中。因此，如果评论家认为一部电影是女权主义的，他们往往会认为它也是反男性的。在这里，虚构女权主义的理念兜了一圈，虚构的女权主义宣称女权主义是反男性的;这部电影被解读为女权主义;因此，这部电影被宣布为反男性，这增加了虚构的画面
feminism as anti-male.Therefore,The Handmaid s Tale,a film that never explicitly
女权主义是反男性的。因此，《使女的故事》这部从未明确表示的电影
discussed feminism, nonetheless contributed to the construction of fictional feminism. To this end,The Handmaid s Tale is best known for the feminist theme.Even the author usually considers herself as a feminist;however,she also has a little doubt
讨论了女权主义，尽管如此，还是为虚构女权主义的构建做出了贡献。 为此，《使女的故事》以女权主义题材而闻名。甚至作者通常也认为自己是一名女权主义者;不过，她也有点疑惑
whether novels
小说
can
能
change lives or effect political changes. She illustrated her
改变生活或影响政治变革。她为她绘制了插图
ambivalence when she was considered as a feminist writer.On the one hand,she spared no effort in concentrating on the feminist researeh positively;on the other hand, she criticized the close connection between feminism and politics. Atwood's
当她被认为是女权主义作家时，她感到矛盾。一方面，她不遗余力地积极关注女权主义研究;另一方面，她批评了女权主义与政治之间的密切联系。阿特伍德的
relationship with feminism is very complicated.She participated in feminist political activities and was sometimes willing to call herself a feminist.At other times,Atwood resisted the term. She questioned even less radical feminist positions and suggested that feminism had failed to achieve its goals.While Atwood seemed ambivalent about
与女权主义的关系非常复杂。她参加了女权主义政治活动，有时愿意称自己为女权主义者。在其他时候，阿特伍德抵制这个词。她质疑甚至不那么激进的女权主义立场，并认为女权主义未能实现其目标。虽然阿特伍德似乎对此持矛盾态度
feminism as
a political
一个政治
movement,she clearly rejected any attempts to call her a
运动，她显然拒绝了任何称她为
feminist writer.In faet,she had come to deplore other`s expectations of her writing Her goal is to be a good writer,rather than a woman writer or a feminist writer.Once again,Atwood urges us to consider the alternatives,to carry po litical positions to their logical extremes and to make sure we are on the road we wish to follow.
女权主义作家。在 faet 中，她开始惋惜别人对她写作的期望，她的目标是成为一名优秀的作家，而不是一名女作家或女权主义作家。阿特伍德再次敦促我们考虑其他选择，将政治立场推向逻辑极端，并确保我们正走在我们希望遵循的道路上。
In Atwood's opinion, the feminist movement was distorted and was taken
在阿特伍德看来，女权运动被扭曲了，被带走了
advantaged by politicians for their radical thoughts and impeded women's liberation.
因其激进思想而被政客利用并阻碍妇女解放。
43
读数 of
之 The
这 Handmaid
婢女 s Tale
故事
Some of the radical advocates of second-wave feminist movement were also reflected in this novel Margaret Atwood illustrated her hopes and fears about the perspective of feminist development in this fiction.In The Handmaid s Tale,Gilead epitomized the female's taming feature and submission position in a patriarchal society.However,
第二波女权运动的一些激进倡导者也反映在这部小说中，玛格丽特·阿特伍德 （Margaret Atwood） 在这部小说中描绘了她对女权主义发展前景的希望和恐惧。在《使女的故事》中，基列集中体现了女性在父权社会中的驯服特征和屈服地位。然而
these women opposed oppression through a series of radical conflicts with the male
这些女性通过与男性的一系列激进冲突来反对压迫
rule.It implies the tense intersexual relationship after the second-wave feminist movement. Margaret called upon other alternations in the process of seeking for women's liberation,whieh actually pro vides basic research direction for this paper. Meanwhile,this paper also analyzes the feminist implication from the mo vie version of The Handmaids Tale in section fo ur since both the novel and the film illustrate the
统治。它暗示了第二波女权主义运动之后紧张的双性关系。玛格丽特在寻求妇女解放的过程中呼吁了其他的交替，这实际上为本文提供了基础研究方向。 同时，本文还在小说和电影的章节中分析了《使女的故事》的现代版本的女性主义含义。
persecution of maseuline ruling.However,the movie version of The Handmaid s Tale lays emphasis on the plot,the narrative structure and the inspiring the experiences of audience's sense.Furthermore,the narrative technique was changed in this movie which also contributes to embodying the novel's motif as a reflection on the fictional feminism
迫害马苏林裁决。然而，电影版《使女的故事》强调情节、叙事结构和启发观众的感官体验。此外，这部电影的叙事技巧发生了变化，这也有助于将小说的主题体现为对虚构女权主义的反思
In this novel,Atwood used her splendid writing ability together with her social experiences and the unjust treatments she had suffered to create a series of vivid women characters.They have the sense of justice and suffer from dilemma, but they keep on creating their future by themselves.Although most of them become the
在这部小说中，阿特伍德利用她出色的写作能力，结合她的社会经历和她所遭受的不公正待遇，塑造了一系列生动的女性角色。他们有正义感，也受苦于困境，但他们不断地靠自己创造未来。尽管他们中的大多数都变成了
controvertib le people in their times,they don't want to become the victims of the
Controvertible人们在他们的时代，他们不想成为
patriarchy society anymore.Therefore,they try to achieve women's independence and liberation.The paper reveals the process of women searching for their inner self and the springing up of women's self-consciousness of human dignity by discussing women's spiritualprocess of pursuing the authority diseourse belonged to them.
父权制社会。因此，他们试图实现女性的独立和解放。本文通过讨论女性追求属于她们的权威的精神过程，揭示了女性寻找内在自我的过程以及女性对人类尊严的自我意识的萌芽。
Although Atwood's vision of feminism may be very complex,she actually asked feminists to consider the alternatives in The Handmaids Tale.She clearly knows that there are feminists who do not subscribe to French feminist or cultural feminist values;
虽然阿特伍德对女权主义的看法可能非常复杂，但她实际上在《使女的故事》中要求女权主义者考虑其他选择，她清楚地知道，有些女权主义者并不认同法国女权主义或文化女权主义价值观;
she understands that feminist politics may take a lot of different ways.But, whether all the over one millionpeople who bought her book have the same understanding
她明白女权主义政治可能会采取许多不同的方式。但是，是否所有购买她这本书的100 多万人都有相同的理解
44
章 Five
五 Conclusion
结论
remains a question.In fact,her ambivalence sends to the readers a very different message.Atwood presented a picture of fictional feminism that might encourage her readers to reconsider feminism. Atwood's fictional feminists are consistently needed
仍然是一个问题。事实上，她的矛盾心理向读者传达了一个截然不同的信息。阿特伍德展示了一幅虚构的女权主义图景，这可能会鼓励她的读者重新考虑女权主义。阿特伍德的虚构女权主义者始终被需要
to reorganize.Although Atwood herself may be ambivalent towards feminism, her novel suggests very clearly that feminism may in fact seek for further consideration other than what exists now. Many critics argued over the attitudes exhibited by Atwood while other critics explicitly expressed the ambivalence of feminism. Rather,
进行重新组织。尽管阿特伍德本人可能对女权主义持矛盾态度，但她的小说非常清楚地表明，女权主义实际上可能会寻求在现在存在之外的进一步考虑。许多评论家对阿特伍德所表现出 的态度争论不休，而其他评论家则明确表达了女权主义的矛盾性。而
these opinions contribute to a culturalpicture of feminism:a picture that I have called fictional feminism, which affects cultural politics.In other words,it is the feminism formed by this novel and film, as well as other popular texts.These texts create a
这些观点促成了女权主义的文化图景：我称之为虚构的女权主义，它影响着文化政治。换句话说，它是这部小说和电影，以及其他流行文本所形成的女权主义。这些文本会创建一个
figure that antifeminist forces can attack and ridicule,and they present a pieture of
反女权势力可以攻击和嘲讽的形象，他们呈现出一种
feminism that feminists must consistently fight against.In both the film version and the fictional version of The Handmaid's Tale,Margaret Atwood explicitly showed her ambivalence toward certain tendencies in feminist theory and practice.By describing the picture of feminism and criticizing the patriarchy in her novel,Atwood meant to encourage her reader to reexamine feminism. Indeed,feminism has affected feminist politics to some extent. Although the types of political feminism and academic
女权主义者必须始终与之抗争的女权主义。在电影版和虚构版的《使女的故事》中，玛格丽特·阿特伍德都明确地展示了她对女权主义理论和实践中某些趋势的矛盾心理。阿特伍德在小说中描述女权主义的图景并批评父权制，旨在鼓励她的读者重新审视女权主义。事实上，女权主义在一定程度上影响了女权主义政治。尽管政治女权主义和学术的类型
feminism are diverse,they all foeus on many different issues that are often in conflict
女权主义是多种多样的，她们都反对许多不同的问题，而这些问题往往是相互冲突的
with each other,presenting a single and complete entity to participants.Therefore,it is
向参与者呈现一个单一而完整的实体。因此，它是
Margaret Atwood's consideration of alternatives for feminists that brings hope to
玛格丽特·阿特伍德 （MargaretAtwood） 对女权主义者替代方案的思考为女权主义者带来了希望
female culture and feminist freedom.
女性文化和女权主义自由。
45
女权扩张论者 Reading
读数 of
之 The
这 Handmaid
婢女 s Tale
故事
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《外国文学》2005年第3期.
王玲,刘秀杰《“界限”的政治一—论<使女的故事>中的“界限”主题》[J].哈尔滨:
王玲，刘秀杰《“界限”的政治一—论<使女的故事>中的“界限”主题》[J].哈尔滨：
哈尔滨工业大学学报(社会科学版),2007(03).
哈尔滨工业大学学报（社会科学版），2007（03）.
张琳.《论玛格丽特·阿特伍德小说中的女性形象》[D].济南:山东师范大学,2004.
张琳.《论玛格丽特·阿特伍德小说中的女性形象》[D].济南：山东师范大学，2004。
67.张京媛.《当代女性主义文学批评》[M].北京:北京大学出版社,1992.
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68.朱立元.《当代西方文艺理论》[M].上海：华东师范大学出版社，1993.
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个人简介
姓名:邴婷婷 性别:女
姓名：邴婷婷性别：女
出生年月:1986.4.16 籍贯:黑龙江哈尔滨
出生年月：1986.4.16籍贯：黑龙江哈尔滨
教育经历: | ||
2011.9-2014.7 | 北京林业大学英语语言文学 | 硕士 |
2005.9 2009.7 | 牡丹江师范学院英语专业 | 本科 |
发表论文情况: 1.以第一作者在《科海故事博览》2013年第十一期发表论文《吸血鬼故事中的女性主义一一解读〈夜访吸血鬼>》(The Feminism in the Vampire Story Interview with the Vampire)e 2.以第二作者在《科海故事博览》2013年第十一期发表论文《安·兰德述评》
发表论文情况 ：1.以第一作者在《科海故事博览》2013年第十一期发表论文《吸血鬼故事中〈女性主义一一解读〈夜访吸血鬼>》 吸血鬼故事吸血鬼访谈）e2.以第二作者在《科海故事博览》2013年第十一期发表论文《安·兰德述评》
(Literature Review onAyn Rand)e
（Ayn Rand 的文献综述）e
实践经验:
实践经验：
2013年3月-2013年8月 西门子中国 税务部助理
2012年2月2012年6月 外语教学与研究出版社 英语编辑
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导师简介
姓名:吕丽塔 性别:女
姓名：吕丽塔性别：女
出生年月:1974年08月 籍贯:广西
出生年月：1974年08月籍贯：广西
专业:英语语言文学 最后学历:硕士
专业：英语语言文学最后学历：硕士
职称:副教授
个人经历:
个人经历：
1998.6-2001.6就读兰州大学外语学院,获文学硕士学位。
1998.6-2001.6就读兰州大学外语学院，获文学硕士学位。
1994. 9-1998.7就读兰州大学外语学院,获文学学士学位。
1994.9-1998.7就读兰州大学外语学院，获文学学士学位。
2001.7-至今 就职于北京林业大学外语学院,现任副教授,硕士生导师。
2001.7-至今 就职于北京林业大学外语学院，现任副教授，硕士生导师。
主讲过的课程包括:本科生的大学英语,研究生的影视翻译等。
主讲过的课程包括本科生的大学英语研究生的影视翻译等。
科研情况:
近几年来,撰写著作《生态女性主义:性别、文化与自然的文学解读》,主编、副主编外语教育与研究出版社、北京大学出版社出版的多部英文教材,在《北京电影学院学报》《电影文学》等刊物上发表学术论文十多篇。
近几年来，撰写著作《生态女性主义：性别、文化与自然的文学解读》，主编、副主编外语教育与研究出版社、北京大学出版社出版的多部英文教材，在《北京电影学院学报》《电影文学》等刊物上发表学术论文十多篇。
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获得成果目录清单
邴婷婷.吸血鬼故事中的女性主义一一解读《夜访吸血鬼》[J].科海故事博
览,2013(11):86。
览，2013（11）：86。
邴婷婷、安·兰德述评[J].科海故事博览,2013(11):88。
邴婷婷、安·兰德述评[J].科海故事博览，2013（11）：88。
邴婷婷.解读《喜福会》中的东方主义[J].海外英语,2013(6):60-61。
邴婷婷解读《喜福会》中的东方主义[J].海外英语，2013（6）：60-61。
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确认
Acknowledgements
确认
My sincere thanks must go to many people without whose help this thesis would not have been completed.My deepest gratitude goes first and foremost to Ms.Lv Lita, my supervisor, for her constant encouragement, enlightening suggestions and guidance.She has walked me through all the stages of the writing of this paper. Without her consistent and illuminating instruction, this paper could not have reached its present form Her serious scholarship and academic
我必须衷心感谢许多人，没有他们的帮助，这篇论文就不会完成。我首先要感谢我的导师 Ms.Lv Lita，感谢她不断的鼓励、启发性的建议和指导。她带我完成了这篇论文写作的所有阶段。没有她一贯而富有启发性的指导，这篇论文不可能达到现在的形式。她严肃的学术和学术
practices,and above all,her agreeable personality,have influeneed me immensely.
实践，尤其是她和蔼可亲的性格，极大地影响了我。
Secondly,I would like to express my heartfelt gratitude to Ms.Zi Ying, Ms. Chen Lisha,Ms.Luo Can,Ms.Zu Guoxia and Ms.Bai Xuelian,who helped me a lot in the past year.The English academic skills and knowledge they imparted to me have
其次，我要衷心感谢紫莹女士、陈丽莎女士、罗灿女士、祖国霞女士和白雪莲女士，他们在过去一年中帮助了我 很多。他们传授给我的英语学术技能和知识具有
been precious and helpful for the thesis and my future career.
对论文和我未来的职业生涯非常宝贵和有帮助。
The acknowledgement should also be made to Ms.Xu Jing from Beijing University of Posts and Telecommunications.Thank her for her priceless suggestion and academic encouragement as the chiefsupervisor for my graduation thesis defense.
还要感谢 北京邮电大学的徐静女士，感谢她作为我毕业论文答辩主任的宝贵建议和学术鼓励。
Last but not least I would like to express my heartfelt thanks to my families,my friends and classmates who have always been so loving and caring and have provided me with understanding,encouragement and support.
最后，我想衷心感谢我的家人、朋友和同学们，他们一直以来都非常有爱心和关怀，为我提供了理解、鼓励和支持。
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