论《过度之爱》中女性空间的双重隐喻.pdf

Englis Abstract anonymity,by whic Alovisa gained the discursivepower to deliverher love freelywithout shameandfear.Thesecondchapterdiscussesgardenasthedualgazingpower.Gardenislike a “panopticon”,where the heroines’happiness and freedom areunder surveillance.Actually under men’s gaze, the heroines’ body and mental secrets in the garden seemed to be transparent.Thus, the eroines became the object of the men’s desire. When Melliora read lovestories,D’elmontwasseeingherthroug agallerywit alargewindowfacingthegarden. Intheprocessofhisgaze,Melliora’shiddenpassionbecametransparent.However,inorderto pursue their love, the heroines were no longer content wit being the gazed object. On the contrary, Camilla attempted to make use of the darkness in the evening, and Ciamara equippedherselfwit theveilagainstthemen’sgaze,andevenbecamethegazingsubjecton meninthegarden.Thepastoralpower ofmonasterywasexploredinthethirdchapter,whic actswit anaimtodisciplinetheindividualinmindandsoul.Themonastery strictlycontrols women’s mind and soul throug pastoral power, making the heroines become the moral objects. For the female characters, the monastery was a closed space to imprison their thoughts andbody.Onthe otherhand, themonastery was, to someextent,thewomen’sfree spirituallandaswell.Amena,whowassenttomonasterybyherfather,underthecoverofher confession, secretly wrote love letters to D’elmont. To Amena, the monastery was a safer placethantheoutsideworldtogivethereintoherlovebywritingletterscovertly,withoutthe moralinsultfromherfatherandviciousplotfromAlovisa. From the above analysis, it reveals that the patriarchal society in the 18t century Britain,restrictedwomen’slivingspaceswit anaimforthecomprehensivecontrolthroug a variety ofpowers.However,the application ofpower andthe limitation ofthe space donot reduce women into one-dimensional beings; instead they take advantage of spaces in a strategicalwaytofulfilltheirdesir