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解析酷儿理论视角下的《自由国度》作者：张小敏来源：《青年文学家》2017年第21期摘要：《自由国度》是英国移民作家奈保尔的一部后殖民主义的经典著作。
小说通过对某一特定空间内各种异质文化交锋和不同意识形态相互碰撞的描写，突出主人公在与主流文化的摩擦中陷入被边缘化的尴尬境地，以至于逐渐沦为“囚笼”中的人。
从酷儿理论出发，解读《自由国度》中的边缘人，进而探讨社会中少数群体面临的生存挑战，并鼓励他们融入大众，反对社会霸权，大胆追求真正意义上的“自由”。
关键词：酷儿理论；主流文化；边缘人；自由；融合作者简介：张小敏（1989-），女，汉族，河南开封人，郑州工程技术学院外国语学院助教。
[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-2139（2017）-21--02一、引言奈保尔祖籍印度，出生在特立尼达，后来定居英国。
生长环境的特殊性，使奈保尔深受本土文化和大英帝国教育的双重影响，这也就注定了他复杂的多面人生。
这种复杂性在其作品中表露无遗。
奈保尔是一位多产作家，一生中创作很多优秀作品，在1971年凭借《自由国度》摘取英国最重要的文学奖——布克奖。
并于2001年荣获诺贝尔文学，曾被英国著名评论家普里切特称为“在世英语作家中的佼佼者”。
有评论家称：诸多殊荣不仅是对这位移民作家文学天分的肯定，更是对他在作品中倾注的个人情感的认同。
奈保尔的许多作品都围绕着殖民地和宗主国之间的关系展开。
既有对自己生存世界的质疑，对宗主国文化的不接纳，又包含着在两种文化交互中小说主人公的挣扎与困惑，甚至绝望。
其中，小说《自由国度》里的主人公就面临着同样的困惑，他们如同现代社会中的许多边缘群体被称为本时代的“酷儿”。
二、《自由国度》和酷儿理论当今评论界对《自由国度》褒贬不一，其中，美国著名的小说家约翰·厄普代克在《纽约人》上说：第三世界不会再有比奈保尔更好的作家了。
登尼斯·波特说：《自由国度》是奈保尔所有最伟大的小说中的一本，小说艰涩，但却充满了令人怜悯的情感。
内容摘要酷儿理论于20世纪90年代在西方崛起，目前已成为一种新兴的西方理论思潮。
伊芙·科索夫斯基·塞吉维克作为酷儿理论的奠基者和代表人物之一，有着重要的研究意义。
但与其地位不相符的是，国内对于塞吉维克并不熟悉。
因此，笔者认为对于这样一位重要的学者，介绍其理论生涯，梳理、阐释以及评析其理论学说都是相当有必要的。
本论文的主要研究对象即塞吉维克的酷儿理论和文学批评实践。
笔者对塞吉维克的论著进行了详细的文本分析，并以此为基础，参考已有研究成果，部分结合中国本土的文学、历史、社会情况，集中研究、探讨塞吉维克的酷儿理论和文学批评。
本论文的第一部分主要是介绍塞吉维克的学术活动和影响，其中包括她的学术经历、理论背景和渊源、学术贡献与影响。
本论文的第二部分，也是本论文的核心部分，集中阐述了塞吉维克的三个理论要点：同性社会性、暗柜认识论和酷儿操演。
通过对这三个具体理论要点的分析，我们分别能够感受到塞吉维克关于男性关系谱系与权力之间交互作用的探索，对二元对立思维模式的批判，对酷儿群体的情感动力架构的思考。
本论文第三部分，是对塞吉维克文学批评实践的分析，归纳了她文学批评的四个主要特点：别样的视角，挖掘细微的酷儿要素，反对二元对立思维模式，浓缩化与抽象化。
最后的结语部分，本论文则探讨了塞吉维克的理论和文学批评对于中国的借鉴意义，以及在我国理论、思想、文学批评等方面可能带来的影响和启发。
通过本论文的研究，笔者希望能够丰富国内关于塞吉维克和酷儿理论研究的资料，同时稍稍填补国内有关塞吉维克的理论研究的空白，也进一步促进国内更全面地发展酷儿理论。
并且最终达到抛砖引玉的效果，引起国内学术界对塞吉维克与酷儿理论更多的关注。
关键词：塞吉维克，同性社会性,暗柜认识论,酷儿操演,文学批评，酷儿理论ABSTRACTQueer theory rised in the 1990s in the West, has now become an emerging Western theory.As one of the representatives and founders of queer theory, Eve Kosofsky Sedgwick has important significance to reseach.But her worth is not yet recognized in our country. Therefore, I believe that for such an important scholar, describing her theory career,and carding, explaining her theories are quite necessary.The Sedgwick's queer theory and literary criticism is the main object of study in this thesis. I conducted a detailed textual analysis of Sedgwick's queer theory and literary criticism , and as a basis,for reference existing research results, partly combine Sedgwick's queer theory with literature, history and social situation of our contry,to explore Sedgwick's Queer theory and literary criticism.In the first part of this thesis,it is the introduction of Sedgwick's academic activities and influence,including her academic experience, theoretical background and academic contribution and influence. In the second part and the core part,I elaborated three theoretical points of Sedgwick：homosocial，epistemology of the closet, queer performativities. Through these three specific points of the theoretical analysis, we were able to feel Sedgwick's exploration of the relationship between men and power, the criticism to dualistic thinking and the thinking for emotional power of the queer community. Thirdly it is the analysis of Sedgwick's literary criticism. I summarized the four main features of her literary criticism: a different kind of perspective, to dig the queer elements，opposed to dualism thinking，concentration and abstraction. Finally,I discussesde the possible impact and inspiration of her theory to China.By the study in my paper, I hopes to enrich the domestic information of the studies Sedgwick and queer theory,meanwhile to fill the gaps about Sedgwick's theory, but also further promote the development of national queer theory. And ultimately achieve the effect of forward, causing concern for queer theory and Sedgwick more.Keywords:Sedgwick, Homosocial, Epistemology of the closet, Queer performativities, Literary criticism绪论 (1)一、国内外研究现状 (1)二、选题意义与研究思路 (5)第一章塞吉维克的学术活动及其影响 (8)一、塞吉维克的学术经历 (8)二、塞吉维克的理论背景及渊源 (9)三、塞吉维克的学术贡献与影响 (10)第二章塞吉维克的酷儿理论分析 (14)一、同性社会性 (14)1、同性社会性欲望 (15)2、恐同 (19)二、暗柜认识论 (23)三、酷儿操演 (32)第三章塞吉维克的文学批评 (39)一、别样的视角 (39)二、挖掘细微的酷儿要素 (42)三、批判二元对立思维模式 (44)四、浓缩化和抽象化 (46)结语：塞吉维克的酷儿理论的借鉴意义 (48)参考文献 (51)后记 (54)作为一门九十年代兴起的性理论——酷儿理论有着重要的理论价值和政治意义。
酷儿理论视角下《金童玉女》中代教授的孤独人生作者：彭小辉来源：《人间》2016年第18期摘要：旅美华裔女作家李翊云的短篇小说《金童玉女》讲述了一个做教授的母亲把自己海归的儿子许配给以前的学生，这是一个有关gay和lesbian的故事。
酷儿理论是指任何反、非、抗异性恋的表述。
本文试从同性恋文学批评下的酷儿理论角度入手通过分析小说中的主要人物代教授作为同性恋这一社会边缘群体在异性恋霸权压迫下由反抗到妥协的过程，揭示了她孤独一生的命运。
关键词：《金童玉女》；酷儿理论；孤独人生中图分类号：I712.074 文献标识码：A 文章编号：1671-864X（2016）06-0191-02一、引言《金童玉女》（Gold Boy，Emerald Girl）是旅美华裔女作家李翊云的第三部成书作品。
这是她继2005年一炮而红的《千年敬祈》之后，出版的第二部短篇小说集，收入八个短篇和一个中篇。
创伤和失落是这部短篇小说集的最大特色（薛丽贤 2012）。
在与书名同题的短篇《金童玉女》中，一个做教授的母亲把自己海归的儿子许配给以前的学生，看起来是一件很平常的事情，但是背后却藏着难以启齿的秘密。
这是一个有关gay和lesbian的故事，虽然匪夷所思，却不乏亲情和人性的暖意。
这篇以同性恋为主题的小说关注的是在中国社会环境下普遍存在的一类特殊的边缘群体——同性恋群体。
李翊云以华人作家的特殊身份用细腻的笔触抒写了中国同性恋者的孤独与失落，具有深刻的社会现实意义。
国内研究方面，目前只有薛丽贤发表的一篇美国华裔女作家李翊云《金童玉女》主题研究的论文，国外研究方面也没有与之相关的评论文章。
由于国内外对这篇短篇小说的研究基本还处于空白阶段，而该篇短篇小说的价值和意义远远超过它目前的关注度，因此对这篇小说进行全面而细致的解读也就变得十分必要了。
然而考虑到小说的解读有多种，无法面面俱到，本文试从分析小说中的主要人物代教授的角度入手，选取同性恋题材小说的一般研究方法——同性恋文学批评下的酷儿理论视角，探讨人物孤独悲凉的命运。
简析作为文学批评方珐的酷儿理论口南昌大学外语学院傅淑琴李洪摘要：以来迪斯巴特勒和伊芙-塞吉维克等为代表的酷儿理论家挑战传统的性别机制、试图解构同性恋和异性恋的两分结构争性别两分法。
酷儿理论因对性别、身份等文化现象的关注而成为一种新兴的文学批评方法并为文学作品的解读提供全新的视角。
作为酷儿理论的重要代表之一．伊笑科索夫斯基塞吉维克的文学批评实践从性另4视角出发，为重新解读和阐释文学经典提供了新的范式。
关键词：酷几理论；文学批评；朱迪斯．巴待勒：伊芙．科索夫斯基塞吉维克酷儿理论是20世纪90年代在西方兴起的一种新的性理论。
文化研究的兴起使性别研究成为其异常重要的一个重要分支。
性别研究除了女性研究以外．还包括性取向研究，如男同性恋研究(gay s t udi es)和女同性恋研究(1esbi an s t udi es)。
进入90年代，男女同性恋研究逐渐合流．成为一个相对独立的理论体系，这就是酷儿理论(queer t heoryl。
酷儿是英文单词“queer”的音译．为“异常的．行为古怪的”之意．长期以来既被用作贬损同性恋者的形容词．也常被用作名词用以指称同性恋。
“酷儿”主要包括以下人群：同性恋者、双性恋者、易装者、虐恋者．以及认同并践行酷儿理论的异性恋者。
概括地说，酷儿系指那些在性、性别或性取向方面与传统的主流文化不一致．无法归类或不想被归类的所有生命个体。
而“酷儿理论”作为一个术语．指代的就是这种非常态的表达方式．“酷儿理论不是指某种特定的理论，而是多种跨学科理论的综合，它来自史学、社会学、文学等多种学科。
”I zlg'四酷儿理论首先是由加州大学桑塔克鲁斯分校的教授罗丽蒂斯提出。
她在1991年的《差异》杂志上组织了“女同性恋与男同性恋的性”专号的讨论。
罗丽蒂斯是在批评的意义上使用这一术语的。
她认为。
用“酷儿理论”取代女同性恋和男同性恋的提法存在不足．即掩盖了二者的区别。
也就违背了她提出的强调男女同性恋各自特殊性的初衷。
第29卷第9期湖南科技学院学报 V ol.29 No.9 2008年9月Journal of Hunan University of Science and Engineering Sep.2008《海的女儿》的酷儿解读付飞亮(运城学院中文系，山西运城 044000)摘要：该文结合安徒生的生平传记，对《海的女儿》进行酷儿解读。
通过分析《海的女儿》中的人鱼和现实生活中安徒生的契合之处，如人鱼渴望进入“上层世界”与安徒生梦想跻身上层社会；人鱼对王子的爱由于失去了舌头而不能言说和安徒生对爱德华•科林的不能言说的爱；人鱼对王子美丽的身体的着迷和安徒生自己对男性身体着迷的渴望；人鱼独自化为泡沫和安徒生怀着深深的哀伤独自旅行等；并从人鱼这一雌雄同体意象的选择进行阐述，揭示出《海的女儿》文本下潜藏的同性恋情愫。
关键词：《海的女儿》；酷儿；同性恋中图分类号：I106.8 文献标识码：A 文章编号：1673-2219（2008）09-0015-03在多元状态中生存的读者，基于各自的经历、学养、爱好、民族特性等的不同，对丹麦童话作家安徒生《海的女儿》的理解、认识和探讨也必然是多种多样的。
本文拟用酷儿理论来解读《海的女儿》。
酷儿理论基于解构主义对人类主体(自我)的洞察，认为“个体的性欲是一个流动的，未完成的，动态的，各种可能的性欲的集合。
性欲即不是被我们的生物属性(男或女)所控制，也不是被我们的文化把此生物属性变形成性别角色(男性气质或女性气质)的方式所操纵。
性欲超越了这些定义并有一种意愿，一种创造，一种它自身表达的需要。
”[1](P337)酷儿批评(Queer Criticism)是从酷儿的视角来分析文本的一种另类批评方式。
虽然有时难免会有阐释过渡之嫌，但往往能给人意想不到的启迪和洞见，增加欣赏或阅读的维度，希望能对扩大读者的欣赏视野有所裨益。
《海的女儿》是明显传统的异性恋模式。
海里美丽的人鱼公主爱上了岸上的王子，可是王子却爱上了岸上的另一个公主。
摘要安吉拉·卡特（1940-1992），英国最具独创性的女性作家之一。
她的作品以天马行空的想象力见长，在西方是一位有较大影响力并被广泛阅读的作者。
《新夏娃的激情》是安吉拉·卡特的第七部小说。
小说中，卡特彻底颠覆现存的生理性别与社会性别，呈现给读者一个混乱、颠倒、流动的全新两性世界。
酷儿理论( Queer Theory）是20世纪90年代在西方兴起的文学批评理论。
“酷儿 (Queer)”指的是在文化中所有非常态的表达方式，是所有在性倾向方面与主流文化和占统治地位的社会性别规范或性规范不一致的人。
它批判性地研究生理的性别决定体系、社会的性别角色和性取向。
酷儿理论认为性别认同和性取向不是“天生”的，而是在社会和文化的同化过程中形成的。
酷儿理论质疑传统的异性恋霸权，反对传统的性别观点对人们的压制和禁锢。
安吉拉·卡特的作品是伴随着酷儿理论产生的背景及发展过程而创作出来的。
特别是她的重要小说《新夏娃的激情》，阐述了“酷儿理论”的许多新视点，如男权下的异性恋、扭曲的一元世界、和谐的双性同体、超性别之恋以及性别操演。
小说描述了主人公艾弗林变性前后对自身性别认知的心理变化，“母亲”和“零”扭曲的一元世界，特里丝岱莎的变装，以及新夏娃和特丽丝岱莎的超性别之爱。
这些现象表明，安吉拉‧卡特理想中的两性关系是超二元对立，即男女霸权话语均得到消解后两性完美的融合，是打破性别约束之后的自我重建。
本文的意义在于通过分析《新夏娃的激情》所体现的酷儿思想，使人们对生理性别及社会性别有更好的理解，从而建立更加和谐包容的两性社会。
关键词：安吉拉·卡特；《新夏娃的激情》；酷儿理论；流动性AbstractAngela Carter (1940-1992), is one of the most original female writers, and her works make a feature of wild and fantastical imagination. She is also an influential writer whose works are widely read in west. The Passion of New Eve is Angela Carter‘s seventh novel, it is set in the background of American Civil War. In the novel, Carter completely subvert biological sex and cultural gender, presents to the reader a chaotic, reverse and flowing world.The ―Queer Theory‖ is a new critical theory that rose in the west in 1990s. As the abnormal expression of the culture, the ―Queer‖refers to those people whose sexual orientations are different from the mainstream culture and the dominant social gender and sexual norms. This theory conducts the research about the physiological sex-determination system, the social gender role and the sexual orientation critically. According to this theory, the gender identity and the sexual orientation are not inborn but develop in the process of social and cultural assimilation. The ―Queer Theory‖ opposes against the hegemony of the traditional heterosexuality and the imprisonment of the traditional gender perspective.Angela Carter‘s works are produced under the background of Queer Theory‘s emergence and development. Especially, The Passion of New Eve, one of her major works, interprets many new viewpoints of Queer Theory, such as the androcentric heterosexuality under male patriarchy, the twisted monistic world, harmonious androgynies, drag performance of Tristessa and the performativity in New Eve. The novel describes Evelyn‘s change of gender identity before and after the transsexual surgery, the twisted monistic world created by Mother and Zero, Tristessa‘s drag performance and the ultra-sex love between Tristessa and New Eve. All these parts illustrate that the author‘s ideal sexual relations is to go beyond the binary oppositions between man and woman—the perfect combination in men and women after decomposing hegemonic discourse, and theself-construction after breaking the binary gender constraints.The significance of this thesis is that by analyzing The Passion of New Eve, we may have a better understanding of sex and gender and it will be helpful to build a more harmonious and inclusive society.Key Words: Angela Carter; The Passion of New Eve; Queer Theory; fluidContents摘要 (i)Abstract .......................................................................................................................... i i Chapter 1 Introduction (1)1.1 Angela Carter and Her Works (1)1.2 Literature Review (4)1.2.1 Overseas Research Status (4)1.2.2 Domestic Research Status (7)1.3 Angela Carter and Queer Theory (8)Chapter 2 Queer Theory (10)2.1. The Modern Background of Queer Theory (11)2.1.1 The Emergence of Feminist Literary Criticism (11)2.1.2 Michel Foucault and Discourse Space Theory (12)2.1.3 Jacques Derrida and the Deconstruction of Logocentrism (13)2.1.4 Jacques Lacan and the Three Orders (14)2.2 The Major Points of Queer Theory (15)2.2.1 Queer Theory and Heterosexuality & Homosexuality (16)2.2.2 Queer Theory and Androgyny (17)2.2.3 Queer Theory and Gender Performativity (19)Chapter 3 Rebellion Against Dichotomy of Gender (21)3.1 Evelyn and Leilah: the Androcentric Heterosexuality (21)3.2 The Twisted Monistic World (23)3.2.1 ―Mother‖ and Her Female Utopia (24)3.2.2 Zero and His Patriarchy Kingdom (25)Chapter 4 Fluid Gender in The Passion of New Eve (28)4.1 The Performativity in New Eve (28)4.2 The Drag Performance of Tristessa (31)4.3 New Eve and Tristessa: Harmonious Androgynes (33)Chapter 5 Conclusion (36)5.1 Major Findings (36)5.2 Limitations of the Present Study (37)Bibliography (38)Papers Published During the Study for M. A. Degree (42)Acknowledgements (43)Chapter 1 Introduction1.1 Angela Carter and Her WorksAngela Carter (1940-1992) was one of the Britain‘s most disturbing, original and controversial writers of the late 20th century, who won les models and Somerset Maugham Award. In 2008, Carter was ranked tenth in Times‘ list of ―The 50 greatest British writers since 1945‖(Times Jan.5, 2008). The year, 2006, has been called ―Carter‘s Year‖by English because of the unprecedented prosperous research achievements on her works. In the course of her career, Angela Carter wrote novels, short stories, journalism, radio plays, fairy tales, academic articles and pieces of cultural commentary. She could be variously described as a novelist, a short story writer, a journalist, a dramatist, a teacher or a critic. As Abigail Dennis said, ―Attempts to pin her oeuvre to a particular style or genre have been hampered by the discursive and thoroughly original nature of her writing, drawing as it does on sources as diverse as classical mythology, European folklore and fairytale, medieval fable, French surrealism, and popular culture, as well as postmodernist, feminist, psychoanalytic, and literary theories‖ (Dennis, 1999: 119).Angela Carter was born in Eastbourne, a large town in the south coast of England, and brought up by her maternal grandmother in industrial south Yorkshire since she was a child. In some sense, she breathed the world tales. Throughout her teenage years, she fought against anorexia. Her youth was also the neorealist fifties—the era of the ―glum poetry of domestic complaint‖ (Sage, 1994: 119). On the contrary, Angela Carter began to read the works of Symbolist poets such as Blake, Dada, the decadents, James Joyce, Baudelaire and Nabokov. And her reading brought her a dim view of the English literary fashions of her youth. This experience left traces in her later work and that‘s one of the reasons why she couldn‘t be found any sign of an English writer.After attending Streatham & Clapham High School in south London, she began working as a journalist on the Croydon Advertiser, following in his father‘s footsteps. Meanwhile, She married Paul Carter at twenty-one before she attended Bristol University, where she read English and majored in medieval literature. When she was in college, she widely read psychology, sociology, anthropology, myth and folklore.In the 1960s, she was reading Melville and Dostoevsky, plus ―the camp fiction of Ronald Firbank, the fables of Isak Dinesen, and the surrealist fiction of Cocteau‖(Showalter, 1998: 324). 1960s was also a period that the second wave of feminist movement fully launched like a raging fire. The influences of these movements would be found in her later novels. She wrote in Notes from the Front Line, ―The women‘s movement has been of immense importance to me personally, and I would regard myself as a feminist writer. ‖ ―I began to question … the nature of my reality as a woman. How that social fiction of my ‗femininity‘ was created, by means outside my control, and palmed off on me as the real thing‖ (Carter, 1997: 3). As an introduction John Smith wrote in 1997 in Shaking a Leg: Collected Journalism and Writings—―for she is in many senses a child of the 1960s‖ (Carter, 1997: 3). As well as Elaine Showalter described her ―As a thinker and writer, Carter was very much a product of the 1960s‖ (Showalter, 1998: 37). Angela Carter wrote her first novel, Shadow Dance, in 1965. In 1967, she won the John Llewellyn Rhys Prize with only her second novel, The Magic Toyshop, and her third, Several Perceptions, won the Somerset Maugham Award in 1968. In 1969, she published her fist post-apocalyptic novel Heroes and Villains.In 1969, Angela Carter left her 12-year marriage. She used her Somerset Maugham Award, 500 pounds, to travel all across the United States. This fellowship has been set up to help young English writers under the age of 35 to travel abroad. Then she went to live in Japan from 1969 to 1972 and relocate to Tokyo, where she claimed in Nothing Sacred(1982) that she ―learnt what it is to be a woman and became radicalized.‖ Her geographical distance from the British literary circlesintensified her sense of being an outsider. This is the period in which she claimed that her time in Japan was paradoxically responsible for both stimulating her fascination with the graphic extremism of pornographic forms and awakening her feminist consciousness. Over this decade, her fiction was increasingly self-reflexive and experimental, and also deliberately courted controversy. Her novels written over this period, including Heroes and Villains (1969),Love (1971), The Infernal Desire Machines of Doctor Hoffman (1972) and The Passion of New Eve(1977)remain among her most shocking and experimental, even though received a very lukewarm reception on their publication. She also wrote about her experiences there for New Society and her story collection, such as the story: A Souvenir of Japan in Fireworks: Nine Profane Pieces (1974).She then explored the United States, Europe and Asia, and she spent much of the late 1970s and 1980s as a teacher of writing in residence at universities, including the University of Sheffield in South Yorkshire, Brown University in the USA and the University of Adelaide in Australia. She also taught writing at the University of East Anglia from 1984 to 1987. ―Just as Carter spent much of her time travelling both in Britain and abroad, so the characters in her novels journeyed to America, Russia or Siberia‖ (Gamble 1997: 145).In 1977, Carter married Mark Pearce. In the same year, The Passion of New Eve was published. It is her only non-mythic novel, she mentioned it in Notes, ―I wrote one anti-mythic novel in 1977, The Passion of New Eve– I conceived it as a feminist tract about the social creation of femininity, amongst other things‖ (Gamble, 1997: 37). Her collection of short rewritten fairy tales, The Bloody Chamber and Other Stories, gained widespread attention. It was first published in the UK in 1979 and won the Cheltenham Festival Literary Prize in the same year. There was much controversy when Carter's penultimate novel, Nights at the Circus first published in 1984, but then it became that year's winner of the James Tait Black Memorial Prize for fiction.Angela Carter also translated the fairy tales of Charles Perrault in 1974, and inthe early nineties she edited The Virago Book of Fairytales (2 volumes). Her journalism appeared in almost every major publication; a collection of the best of these pieces was published by Virago in Nothing Sacred (1982). She also wrote poetry and film script. Her story ‗The Company of Wolves‘was made into a film together with Neil Jordan in 1984 and ‗The Magic Toyshop‘ was adapted for Granada Television in 1987. It was produced by Steve Morrison and directed by David Wheatley. Her last novel, Wise Children, was published to widespread acclaim in 1991. Angela Carter wrote this novel after she knew she had been diagnosed with cancer. She had a small son and a husband whom she would be leaving behind.Angela Carter‘s death at age fifty-one in February 1992 ―robbed the English Literary scene of one of its most vivacious and compelling voices‖ (Barker 1995: 14-16). Carter‘s enthusiasm for Japanese popular culture, American movies and magical realism, French surrealism, perverse sexuality, and carnivalesque masquerade marked a totally new turn in the English female literary tradition (Showalter 1998: 323). Categorizing Carter‘s mode of writing is quite difficult because of the fact that throughout her career, her narratives constantly negotiate and adjust their position on the margins of a variety of literary forms. C arter‘s acute observations are blend ed with her incisive matter-of-factness, her exceptional wit, her addiction for mockery, and her passion for the absurd. Carter persistently explores new territories and overturns old ideas. She loved to upset expectations, outrage convention and challenge preconceptions, which meant that the only thing she could be relied upon to do was the unexpected (Gamble 1997:2).1.2 Literature Review1.2.1 Overseas Research StatusOver Carter‘s 35-year‘s writing career, she published nine novels, six short fictions, five children‘s books and also some poetry collections, dramatic works,translations, radio plays, etc. Carter is the favorite of scholars and critics as always, ―She has been adopted, though not without disse nt, as one of the most astute feminist writers and critics of her generation‖ (Barker, 1995: 14-16).As Sarah Gamble notes, ―Since her death in 1992, Angela Carter's reputation has passed into academic urban legend. The story goes that, among the requests for grants for doctoral study received by the British Academy in the academic year 1992–3, there were 40 proposals to study Carter's work: more — and this is the punch-line —than the Academy received for the entire eighteenth century‖ (Gamble 1997:1).Her relationship with feminist critics and women's studies was an extremely ambivalent one. One of the most controversial areas of her work as far as feminists are concerned is both her apparent support for pornography, and her depictions of violence against women in her writing, which have led some critics to conclude that, in spite of the feminist opinions she began expressing from the late 1960s onwards, she actually only furthers reactionary portrayals of women as nothing more than the objects of male desire.One of the major researchers is Beth A. Boehm. In Wise Children: Angela Carter‟s Swan Song, Beth A. Boehm valued Wise Children as her ―swan song‖ which would burst forth into full and glorious song when it felt the approach of death, and she also valued the ending of Wise Children is ―Carter at her finest.‖ (Boehm 84) In her another essay published in Critique in 1995 entitled ―Feminist Metafiction and Androcentric Reading Strategies: Angela Carter‘s Reconstructed Reader in Nights at the Circus‖, she m ade a comparative study of account of the critical reception of Doris Lessing‘s The Golden Notebook (one of the first contemporary feminist metafictions) and Angela Carter‘s Wise Children. Lessing once bitterly complained about the many ―misreading‖ produc ed by critics of her novel and Gayle Greene explains why her intentions are always overlooked, ―the political implications of Lessing critique of ‗the forms‘ have still not been much noticed, which is why the novels feminism continues to be misunderstood.‖Then Beth A. Boehm labeledAngela Carter‘s Nights at the Circus ―a complex metafictional feminist novel‖ based on former premises. Upon Adam Mars Jones and Carolyn‘s failure to ―enter the authorial audience for Carter‘s texts‖ and their misreading result from their ―attempts to decode the novel using the very androcentric reading strategies that it attempts to undermine‖, Beth A. Boehm pointed out Nights at the Circus―offers a new model of erotic relationship between teller and be told‖ and she also indicated that ―Carter‘s feminist metafictions demand that … transforming ourselves into her ‗authorial‘ readers.‖Salman Rushdie called Wise Children Carter‘s ―finest‖ novel: ―In it, we hear the full range of her off-the-page, real-life voice. The novel is written with her unique brand of deadly cheeriness. It cackles gaily as it impales the century upon its jokes.‖ This passage Angela Carter, 1940-1992: A Very Good Wizard, a Very Dear Friend was published in New York Times Book Review in 1992.In Elaine Showa lter‘s A Literature of Their Own: British Women Novelists from Bronte to Lessing (1998), she talked about Angela Carter‘s female writing and her experimenting with an avant-garde literary style. Elaine Showalter concentrates on the Gothic and modernity in The Bloody Chamber and She pointed out that Angela Carter‘s fairy tale and the fable have provided a form for the women writers of her period.Studies on Carter's work are unprecedented widespread and ever-growing, employing more forms of essays, reviews and conference papers than book-length studies. Such as Feminist Metafiction and Androcentric Reading Strategies: Angela Carter‟s Reconstructed Reader in Nights at the Circus(1998) written by Beth A. Boehm in Critique, Patricia Juliana Smith‘s “The Queen of the Waste Land”: The Endgames of Modernism in Angela Carter‟s Magic Toyshop(2006)published in Modern Language Quarterly, Joanne Trevenna‘s Gender as Performance: Questioning the …Butlerification‟ of Angela Carter‟s Fiction(2002)in Journal of Gender Studies.Other researchers such as Lorna Sage, she is the editor of a volume of essays Flesh and the Mirror: Essays on the Art of Angela Carter (1994) and the author of Angela Carter (1994). Other Peach Linden‘s Angela Carter (1998),The Fiction of Angela Carter (2001), Angela Carter: A Literary Life (2004), Peter Childs‘s Contemporary Novelists: British Fiction Since 1970 (2005)and Critical Essays on Angela Carter (1998) edited by Tucker Lindsey. And other academic monographs include Lee Alison‘s Angela Carter (1997), Sarah Gamble‘s Angela Carter: Writing from the Front Line (1997) and Angela Carter and the Fairy Tale (2001) editied by Danielle M. Roemer & Critina Bacchilega.1.2.2 Domestic Research StatusThe domestic study of Angela Carter is not as prosperous as the studies abroad. it is quiet fall behind neither in quantity nor in quality. The Passion of New Eve has long been neglected. Not until 2005 did Taiwan scholar Yanyun translated her work Wise Children, then The Passion of New Eve in 2009 and Burning Your Boats in 2012. And then Wang Yuping introduced The Company of Wolves. The domestic researches on this novel mostly center on the fairy tales and the issues of feminism such as androgyny, binary opposition, anti-patriarchy etc. The studies on Angela Carter can be roughly divided into three aspects: the studies on feminism in her works, the studies on demythologizing or deconstructionism, the studies on modernism in her works. And it is generally confined to the research of her other works such as The Magic Toyshop, Heroes and Villains, The Infernal Desire Machines of Doctor Hoffman, Nights at the Circus and Wise Children,which seldom covers The Passion of New Eve.Both the doctoral theses ―Breaking the Magic Spell: From Body to Subject in Angela Carter‘s Rewriting of the Fairy Tale‖(2009) written by Mu Yang, ―Subversive Representation of Reality and Subjectivity in Angela Carter‘s Fiction‖ (2012) writtenby Zeng Xuemei make a detailed introduction of Carter.The theses ―Research on Carnivalization in Angela Carter‘s Novels‖(2012) written by Zhang Jun and ―Carnivalization in a Feminist World—Research on Nights at The Circus From The Perspective of Carnival Theory and Feminism‖(2012) written by Chai Yu explores the carnivalesque features in the novel. ―Means to Demythologize: On Intertextuality in Angela Carter‘s Short Stories‖ (2008) written by Lei Li and ―Towards a Harmonious Heterosexual Relationship in Angela Carter‘s Wolf Trilogy‖(2011) written by Tan Na and ―The Gothic in Angela Carter‘s Short Stories‖(2008) written by Hua Li analyze the postmodernism features in Angela Carter‘s works. In ―The Subversion of Gender Identity: An Introduction of The Passion of New Eve From the Postmodern Feminist Perspective‖ (2011) written by Jin Yidan and ―From Deconstruct ion to Reconstruction: On the Female Characters in Angela Carter‘s Fictions‖ (2009) written by Mo Fan, the authors analyze how Carter deconstruct convention about both gender and fairy tales.1.3 Angela Carter and Queer TheoryThe Passion of New Eve is Angela Carter‘s seventh novel published in 1977, while most of Angela Carter‘s works were created during her 1960s to 1980s. Queer Theory, at that time, is experiencing the stages of burgeon, development, prosperity and ripeness. As a matter of fact, the foundation of Queer Theory are derived from feminist criticism and women‘s stud ies, such as gay/lesbian issues. There has been a huge overlap in both research content and development time. What‘s more, queer theorists are predominantly feminists at its embryonic stage. For Angela Carter sees herself as a feminist writer, in her ―Notes from the Front Line‖, ―I would regard myself as a feminist writer, because I am a feminist everything else‖ (Tucker, 24).As a feminist, Angela Carter has been very deeply influenced by Queer Theory in various ways. Many of her works touch the queer phenomenon such as androgyne,homosexual and transvestites. Of all her novels, The Passion of New Eve is the perfect embodiment of all these elements. So it is significant to explore the implied modern meanings of The Passion of New Eve from the perspective of Queer Theory.Chapter 2 Queer TheoryQueer Theory is a post-structuralist critical theory that emerged in the early 1990s out of the fields of women's studies and queer studies.The word ―queer‖ was once used to describe the people who once called themselves gay or lesbian as an insult, but now it has a broader definition and it was proudly claimed as a marker of transgression.The term ―Queer Theory‖ was coined by Italian feminist and fil m theorist Teresa de Lauretis in a conference on lesbian and gay sexualities that she organized at the University of California in February 1990. She introduced the phrase later in a special issue Differences: A Journal of Feminist Cultural Studies (vol.3,no.2,1992), entitled ―Queer Theory: Lesbian and Gay Sexualities.‖ In that essay, de Lauretis stated that, ―queer unsettles and questions the genderedness of sexuality.‖ One of de Lauretis‘s motives was to link up the theoretical activities of academics with the activist politics of the gay and lesbian rights group. The other motive was to distinguish the theorists who were questioning the gender identity and sexual orientation and those who were happy with the stable gender identity.According to New Zealand queer writer Annamarie Jagose who wrote in Queer Theory: An Introduction in 1997, ―Queer focuses on mismatches between sex, gender and desire. Unknown to many, queer is in association with more than just gay and lesbian, but also cross-dressing, hermaphroditism, gender ambiguity and gender-corrective surgery‖ (Jagose, 1996: 176). For most, queer used to be a slang for homosexual, only refers to gay and lesbian. While, n owadays, ―queer‖ usually refers to those lesbians, gay men, bisexuals, transgender and other groups whose sexualities are defined against the norm of heterosexuality rather than simply associated with those who are identified as lesbian and gay.The main queer theorists are Annamarie Jagose, Lee Edelman, Michael Warner, David Halperin, Judith Butler, William Pinar, Adrienne Rich and Diana Fuss, they are all largely influenced by the work of feminists or following the works of MichelFoucault. Some of the well-known essays which influenced Queer Theory are Luce Irigaray‘s This Sex Which Is Not One, and Eve Kosofsky Sedgwick‘s From Epistemology of the Closet. Some of the main queer theorists‘ works are Lee Edelman‘s Homographesis, Michael Warner‘s Homo-Narcissism; or, Heterosexuality, and Judith Butler‘s Gender Trouble: Feminism and the Subversion of Identity, etc.2.1. The Modern Background of Queer Theory2.1.1 The Emergence of Feminist Literary CriticismThe main feminist writers who inspired queer theorist are Kenneth Ruthven, Toril Moi, Helene Cixous,, Luce Irigaray and Elaine Showalter etc. Speaking of feminism, it is hard to ignore The Second Sex written by French feminist Simone de Beauvoir in 1949. She explicated the ways in which woman becomes the site of alterity for men—always an Object, never allowed to attain the status of Subject on her own, ―One is not born a woman, but, rather, becomes one.‖The influence of feminist literary theory on Queer Theory are self-evident, in a number of ways, the issues of Queer Theory overlap with those of feminist criticism, such as lesbian feminist criticism. It is one branch of feminist theory and confronts of the same difficulties as heterosexual feminism, such as whether lesbian writing has a historical continuity apart from the writing of women, and whether a female writer should establish her sexual orientation first.One of the main feminists who has great impact on the Queer Theory is Luce Iragaray. Her critique of Freud is largely of his theories of sexual differences (like the notions of penis envy and the castration complex). Freud perceived that men and women are more or less adequate versions of the same (male) norm, whereas Iragaray hold that men and women are actually different. In her essay ―This Sex Which Is Not One‖(1997), she characterizes ―both males and females as essentiall y like their primary genitalia: men, like the phallus, are single (-minded), hard, simple, direct; women, like the two lips of the vulva and their sensations, are multiple, diffuse, soft, indirect‖ (Richter, 2006:1436).Another feminist and also a queer theorist is Helene Cixous. She sets up a series of binary oppositions (active/passive, culture/nature, father/mother). Each pair can be analyzed as a hierarchy in which the former term represents the masculine and positive and the latter the feminine and negative. Cixous suggests that, in each case, the masculine term is forced to ―kill‖ the feminine one. It is a critique of logocentrism and phallogocentrism, having much in common with Jacques Derrida's earlier thought. In h er essay ―The Laugh of the Medusa‖, she supports ―the other bisexuality‖ which is a forerunner of Queer Theory's later contents.While Queer Theory and gender studies become areas of theory that are distinct from feminist criticism and women‘s studies, it would be misleading to ignore the connections between these schools. Gender studies became possible as a result of the projects of feminist criticism, and Queer Theory has drawn both energies and insights from feminist thinkers. In their first books, queer theorists such as Luce Iragaray, Helene Cixous, Judith Butler and Eve Kosofsky Sedgwick all defined their work as feminist, and Butler, especially, is still very sensitive to the connections between gender theory and feminism.2.1.2 Michel Foucault and Discourse Space Theory―Discourse‖ is the most imp ortant and complex concept in his theories, and also the basic idea of his studies. In Foucault‘s theory, ―discourse‖ is not just another word for speaking, but a historically situated material practice that produces power relations. In The order of discourse written in 1970, Foucault himself produce a new form of discourse, an ―ungrounded language‖, in which the inclusion/exclusion, inside/outside, opposition of reason and madness would be erased. Foucault writes, ―the production of discourse is controlled, organized, redistributed, by a certain number of procedures whose role is to ward off its powers and dangers‖ (Young, 1981: 48). For Foucault, discourse is a violence that we do to things, or in any case ―a practice that we impose on them‖.Foucault said that the nature of power that operates in our society is repressive,such as the intensity of pleasures, and irregular modes of behavior. It is the discourse power that controls people‘s body and head. Foucault‘s ―power‖ and ―discourse‖ studies employed by a feminist may be concerned with patriarchal shaping of identities, by a queer theorist would be concerned with discourse shape people‘s thought. Foucault also points out that discourse is a ―free game‖, a discourse which is reborn absolutely new and innocent at first, and reappears constantly and ultimately until it is set permanently. This ―free game‖ liberated discourse from the worship to meaning or forms and contributes to the queer theorist to build up their own discourse theory. As Tamsin Spargo s aid, ―Foucault‘s work and life, achievements and demonization, have made him a powerful model for many gays, lesbian and other intellectuals, and his analysis of the interrelationships of knowledge, power and sexuality was the most important intellectual catalyst of Queer Theory‖(Spargo, 1999:41).2.1.3 Jacques Derrida and the Deconstruction of LogocentrismDeconstruction can be traced back to structuralism of 19th century. The word ―deconstruction‖ is derived from Jacques Derrida's work Of Grammatology in 1967. Deconstruction has a significant influence in diverse areas of the humanities and social sciences, including sociolinguistics, linguistics, psychoanalysis, feminism, gay and lesbian studies.In all traditional western literature and philosophy, deconstruction rests upon the metaphysics of presence and it denies the possibility of pure presence and stable meaning. While in logocentrism, every term has its opposition, e.g. speech/writing, mind/body, man/woman, interior/exterior, marginal/central, sensible/intelligible, nature/culture. Derrida points out that in a classical philosophical opposition, we are not coping with the peaceful coexistence of a vis-a-vis, on the contrary, we dealing with them with a violent hierarchy. That is, one of the two terms governs the other, or has the upper hand: signified over signifier; intelligible over sensible; speech over writing; activity over passivity, etc.。
现当代文学酷儿理论视域下的《似水柔情》解读管丽莹 苏州大学文学院摘要：小说《似水柔情》是王小波与李银河在对边缘化群体的实地观察基础上创作的，表达了对主流性与性别观念的反叛。
本文运用酷儿理论，以小说中对异性恋霸权的反抗为切入点，深入到男性/女性二元对立结构对主人公生存状态的压抑，并进而要求打破异性恋霸权和性别身份的束缚，达到性与性别的自由。
最后，指明酷儿理论为中国边缘化群体的斗争带来了新曙光。
关键词：酷儿理论；性向；性别；权力话语酷儿原是西方主流文化对同性恋者的贬称，现用来统称同性恋、双性恋和变性者等少数群体。
酷儿理论诞生于20世纪90年代西方的性别运动，是继女性主义之后一种新兴文化社会理论，为性政治学家所热衷。
它同时也为研究中国同性恋文学、边缘化群体提供了理论基础。
下文将运用酷儿理论分析王小波的小说《似水柔情》，试探寻酷儿们如何走出生存困境。
一、异性恋霸权下的爱慕在酷儿理论被提出之前，诸如女性主义之类的理论其实还是依附在异性恋霸权下的一种反思，而酷儿理论首先质疑了异性恋霸权的合理性，对异性恋/同性恋的二元对立模式进行解构。
李银河在《酷儿理论》中解释道：“异性恋机制的最强有力的基础在于生理性别、社会性别和性欲这三者之间的关系，一个人的生理性别就决定了他/她的社会性别和异性恋的欲望。
”因此解构二元对立模式的基础就是对生理性别、社会性别、性欲的严格分类提出挑战。
而巴德勒的述行理论更是将锋芒直指异性恋合法性的基础所在，她将性别视为一种表演的结果而不是生来所具有的，这一理论从根本上冲击了异性恋的霸权地位，让异性恋一直自以为的原型地位摇摇欲坠。
小说中的异性恋是占据绝对霸权地位的，作为权力的掌握者——警察，他们可以用言语、行为肆意地羞辱小公园里的群体，“从异性恋，尤其是从警察的角度来看，被逮住的同性恋者就如一些笼子里的猴子”，他们站在道德制高点把另一个群体称呼为变态，用压制性的语言迫使他们改变；小说中还描写了阿兰去治疗同性恋的医院，同性恋被认为是病态的(即使这种病态很大程度上是社会压抑的结果)，要用医疗的手段，在小说中表现为用催吐剂来治愈。
文学评论·外国文学基于酷儿理论分析《恋爱中的女人》徐佳 山东科技大学摘 要：《恋爱中的女人》是D.H.劳伦斯最重要的作品之一，许多人从不同的角度分析过这部作品，其中一个主要的关注点在作品中的两性观上，而本文将依据酷儿理论对其两性观进行分析。
关键词：恋爱中的女人；酷儿理论；两性观[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-2139(2019)-09-110-021.《恋爱中的女人》D.H.劳伦斯，20世纪英语文学中最重要的人物之一，也是最具争议性的作家之一。
劳伦斯在作品中探讨的一些问题是性，情绪健康，活力，自发性和本能。
《恋爱中的女人》是他的其中一部代表作，许多人从不同的角度分析这本书，试图理解劳伦斯关于工业化，性和精神健康的观点。
其中的一个主要关注点是两性观，许多人认为劳伦斯已经在这本书中通过对比两对情侣——古德和杰拉德；厄秀拉和铂金表达了他的两性观，一些论文坚持劳伦斯想通过厄秀拉和铂金来表达一种平衡的两性观。
但是同时无法忽视的是铂金和杰拉德在小说中也有明显超越友情的感情流露，虽然他们自己称之为血缘兄弟，但是却无法使人信服。
本文以酷儿理论为基础，探究了被称为劳伦斯代言人的铂金身上的酷儿特质和酷儿属性。
2.酷儿理论作为20世纪晚期形成的一个新理论，酷儿理论关注性（sex），性别（gender）和性向（sexuality），以及围绕在它们周围的话语和社会控制实践。
“‘酷儿’这一概念作为对一个社会群体的指称, 包括了所有在性倾向方面与主流文化和占统治地位的社会性别规范或性规范不符的人。
酷儿理论就是这些人的理论”。
[1]酷儿理论反对传统的性别二分法，认为它本质上是不稳定的，强调异性恋的表面规范性在程度上的大小取决于抑制和否定同性的欲望和关系。
而其中的代表人物，朱迪斯•巴特勒更是提出了她著名的“性别操演论”，不只肯定性别的不稳定性和流动性，更指出性别的操演性。
3.基于酷儿理论分析《恋爱中的女人》3.1解构异性恋酷儿理论的一个重要特点就是对于传统的异性恋关系的解构，反对同性恋和异性恋这样的二元对立的分类，认为正因为如此所以才导致了同性恋是作为异性恋的一个对立面而存在和引起争议，而这一切的根本就是因为异性恋占据着主流的话语霸权地位，酷儿理论重要成员之一的米歇尔福柯探讨权力与话语，以及相关的权力与身体、主体的关系，贡献出“话语即权力”这一隐喻，而“权力”这种支配性力量管约或者役使着社会实践主体，使其成为“合格”的社会人。
身份政治[编辑]酷儿理论的一个根源在于1980年代的艾滋病运动。
当时的同性恋组织（如同性恋解放阵线）代表的身份政治在实践中被证明不合用。
受艾滋病威胁的不仅仅是同性恋者，而且还有其他少数人群，比如自认为是异性恋的男男性接触者以及性工作者及他们的客户，共用针头者及血液垂直感染等等。
针对身份的艾滋病启蒙运动无法包括这些非常不同的人群（而且往往他们自己并不把自己规入一个人群）。
在1980年代和1990年代初的本质主义与解构主义之间的争论中形成了一个新的意识，即身份政治过时了，自然科学也支持解构主义的观点，因此身份政治被扩充：假如一个人没有本质的话，那么典型的同性恋者也不存在。
这个在原来被看作是统一的同性恋人群中出现的新发展认为，民族、社会阶层或者宗教等因素同样是一个人的身份的一部分，并且扩充一个人的身份。
在一个友好的环境中（社会宽容，法律平等）这些不同的人群不必形成一个统一的群体，而可以每个人发挥自己的意志和爱好。
在这种情况下同性恋人群内部不同的意识形态和间接就明显暴露出来了，因此过去的身份定义不再满足新的需要，新的定义必须取而代之。
米歇尔·福柯和大卫·哈珀林通过把性别、性别角色和性行为历史化为对传统身份政治的批评提供了另一个理由。
在历史上同性恋不总是像今天人们想象中的现象，随不同社会条件和思想的不同对这个概念的想法也不同。
在卡尔·亨利希·乌尔利克斯提出对性趋向的压迫的理论之前同性恋者可能觉得自己不正常、在犯罪、不自然或者不舒适，但是他们没有觉得自己被压迫。
从历史的角度上来看现代欧洲的性别两分和爱的概念只不过是众多同等的和同样原始的概念，而不是天经地义的和自然的，也就是说现代欧洲的这些理论不是完美无缺的。
朱迪斯·巴特勒是最早认识到这一点并开始探讨这一点的作家。
她把传统的性别角色说成是主观的意识。
她认为虽然身份是社会形成的，但是它也不是任意的，一个人不能像换衣服一样每天戴上另一个身份。
