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| Title: | 伊迪絲·華頓小說中的時裝與新女性
Fashion and the New Woman in Edith Wharton’s Fiction |
| Authors: | 李明
Li, Ming |
| Contributors: | 陳音頤
Chen, Yin-I
李明
Li, Ming |
| Keywords: | 時裝
新女性
伊迪絲·華頓
女性主體性
社會空間
Fashion
The New Woman
Edith Wharton
Female subjectivity
Social spaces |
| Date: | 2022 |
| Issue Date: | 2022-08-01 17:03:16 (UTC+8) |
| Abstract: | 本論文旨在探討伊迪絲·華頓小說中服裝展示的表現形式。時裝在構建和調和新女性的身體形象、身份和社會空間中發揮著能動作用。華頓在書寫她的兩部最著名的小説《歡樂之家》和《純真年代》期間，世界發生了翻天覆地的變化。考慮到十九世紀後期時興的服裝布料、質地、顔色和設計，在二十世紀頭二十年裡就已經過時，不流行，甚至都被人遺忘了，華頓試圖重拾鍍金時代關於服裝的群體記憶。華頓的大部分早期小説都是關於製作服裝與儀式化地展示服裝這兩個世界的共存。時裝成爲反映社會變革的最顯著的信號之一。解讀華頓小説中的時裝亦是在解讀其内在的結構、相互交織的社會風俗、價值觀、政治與道德。布料的重叠、衣裙的褶皺、帽子的面紗是遮擋，更是展露。換言之，在華頓早期小説中，時裝比物質文化中任何別的物件都重要。
本論文認爲無論消費文化和物質文化怎樣構建、調配人與物的互動，這種互動都不能被視為等同於其所處的文化。可以認爲，人的意志本身就存在於物之中；人際關係也是通過物的運用來形塑和構建的。本論文關切的是新女性如何拒絕接受分離領域的諸多約束，並著重强調了物質客體與人類主體之間複雜的相互性，尤其是女性與時尚物件之間相互發揮能動作用，以及它們彼此構建、相互表達的過程。時尚物件通過參與並融入人類歷史、日常習慣、實踐以及未明確表達的願望而在文學文本中栩栩如生，反之亦然。華頓通過强調時尚在塑造身體形象、身份和社會空間，以及駕馭權力關係等方面的積極作用，構建了一種新的女性主體性。這種女性主體性不斷流變，始終處於不斷形成的過程和權力的動態關係之中。
This dissertation explores representations of sartorial display in Edith Wharton’s fiction. Fashion functions as an agency structuring and mediating the New Woman’s body images, identities, and social spaces. Between the writing of her two most famous novels, The House of Mirth (1905) and The Age of Innocence (1920), the world changed in cataclysmic ways. Since the very fabrics, textures, colors and designs of garments in the late nineteenth century of her youth had fallen out of style, out of favor, and indeed out of memory in the first two decades of the twentieth century, Wharton sought to replenish the collective memory of apparel in the Gilded Age. Much of Wharton’s early fiction is about the juxtaposition of these two worlds, one established for the making of garments and the other for the ceremonial display of goods. Fashion becomes one of the most significant indicators of social transformations. Reading fashion in Wharton’s fiction is the way to read the underlying structure, the interweaving of manners, values, politics, and morals. The overlapped fabric, the draping of a dress, and the veiling of a hat reveal more than they conceal. In other words, fashion outshines all other objects of material culture in Wharton’s early fiction.
This dissertation argues that no matter how people’s interaction with the objects is structured and mediated by consumer culture and material culture, it cannot be recognized as reducible to that culture. Arguably, the nature of human intention itself is lodged within objects, and human relations are framed and structured by the use of objects. This dissertation concerns the New Woman’s rejection of the constrictions of separate spheres and foregrounds the complex reciprocity between material objects and human subjects, particularly the reciprocity of agency between women and fashionable objects, and the process of their mutual constitution and articulation. Fashionable objects come alive in literary texts through their participation and absorption in human histories, routines, practices, and unarticulated aspirations, and vice versa. By highlighting fashion’s active role in negotiating body images, identities, and social spaces, and navigating through power relations, Wharton constructs a new model of female subjectivity as one in flux, always in the process of becoming, and perpetually engrossed in dynamic power relations. |
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| Description: | 博士
國立政治大學
英國語文學系
107551506 |
| Source URI: | http://thesis.lib.nccu.edu.tw/record/#G0107551506 |
| Data Type: | thesis |
| DOI: | 10.6814/NCCU202200705 |
| Appears in Collections: | [英國語文學系] 學位論文
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