1、1,Theme,2,主題分析的兩個(gè)層面,層面1：價(jià)值觀（藝術(shù)、文化遺產(chǎn)） （人物對(duì)比）（cf.劉英） 層面2：美國黑人文化認(rèn)同 （象征意義）（cf.趙莉華）,3,Portrayal of MotherWriting Skills Language (Ex XI),The narrator says, “I never had an education myself.” What are some of the characteristics of her use of language (such as choice of words, sentence structure and gramm

2、ar) that suit this background of hers? Since she never had an education herself, she tended to use simple words, fragmented sentences and other ungrammatical sentences.,4,Portrayal of MotherWriting Skills Language (Ex XI),To give one example, she used “l(fā)ike” to introduce a clause instead of “as”. pa

3、ra. 19: Like when you see As if para. 23: It looks like as if para. 65: like a bee had stung her as if para. 73: like somebody used to as if para. 75: Just like when as if para. 11: church and me ( I) para. 23: he dont know ( doesnt) para. 28: She (was) named Dee. para. 42: ask him (whether he) was

4、he a barber para. 64: give them ( these) quilts to Maggie para. 67: I (have) been saving,5,Analysis of Characters - Mother,The mother is a common working woman without much education, but not without intelligence or perception (insight 認(rèn)知能力).,6,Analysis of Characters - Daughters,The two daughters (D

5、ee vs. Maggie) form a sharp contrast in every conceivable way: appearance, character, personal experiences, etc.,7,Analysis of Characters,劉英.被子與“遺產(chǎn)”:日用家當(dāng)賞析.名作賞析,2000(2).,8,Paras. 66 moving back just enough so that I couldnt reach the quilts. They already belonged to her. (62); clutching them closely

6、 to her bosom (63); Maggie cant appreciate these quilts, backward (66); furiously (68); hatred (69),15,Maggie -自卑,Para. 2: nervous until her sister goes Para. 18: make a dash for the house Para. 9: chin on chest, eyes on ground, feet in shuffle,16,Maggie - 軟弱、被動(dòng),Para. 73: she can have them, used to

7、never winning anything, or having anything reserved for her,17,（2）與家庭的關(guān)系,Dee: 羞恥（落后、無知、貧窮）,Maggie: 相依為命、難以割舍,18,Dee - 羞恥（落后、無知、貧窮）,Para. 10,Para. 11,19,Maggie - 相依為命、難以割舍,20,（3）對(duì)“被子”的認(rèn)識(shí)角度,Dee: 用頭腦判斷事物 藝術(shù)的、歷史的、表層的,Maggie: 用心體會(huì) 感情的、個(gè)人的、深入的（文化遺產(chǎn)的精髓）,21,Dee 膚淺的,(1) 名字 Para. 25: not Dee, Wangero Para. 27

8、: shes dead. I couldnt bear it any longer, being named after the people who oppress me Para. 28: you was named after your aunt Dicie,22,Dee 膚淺的,(2) 問候 Para. 21: Wa-su-zo-Tean-o,23,Dee 膚淺的,(3) 穿著 Para. 20: a dress down to the ground, loud, yellows and oranges, loose and flows,24,Dee 膚淺的,(4) 物件用途 Para

9、. 53: use churn top as a centerpiece for the alcove table, think of something artistic to do with the dasher Para. 68: theyre priceless Para. 71: hang them,25,Maggie 用心體會(huì),26,（4）修補(bǔ)被子的能力,Dee: 不會(huì),Maggie: 繼承并發(fā)揚(yáng),27,Maggie 繼承并發(fā)揚(yáng),Para. 68: she can always make some more. Maggie knows how to quilt.,28,Analys

10、is of Theme,主題在文章中的展現(xiàn)： Para. 66: put them to everyday use Para. 73: I can member Grandma Dee without the quilts Para. 80: your heritage Subtitle: for your grandmama,29,Theme,母親對(duì)Dee的稱呼變化（態(tài)度變化）暗示主題： Paras. 1-26: Dee Paras 27-74: Wangero para. 44: Wangero (Dee) paras. 51, 55, 62, 67, 69: Dee (Wangero)

11、Para. 75: Miss Wangero Para. 76: Dee,試圖接受 猶豫迷惘 拒絕接受,30,Theme,趙莉華.逃避傷痛文化，尋根非洲文化：從艾利斯沃克的外婆的日用家當(dāng)看美國黑人文化認(rèn)同.西華師范大學(xué)學(xué)報(bào)（哲學(xué)社會(huì)科學(xué)版）.2005(4).,31,Theme 黑人文化認(rèn)同,艾利斯沃克運(yùn)用象征手法 通過對(duì)母親與兩個(gè)女兒的關(guān)系的轉(zhuǎn)變即母親的頓悟描述 試圖指出當(dāng)時(shí)黑人文化認(rèn)同中的兩個(gè)誤區(qū): （1）怯懦逃避傷痛文化 （2）盲目尋根非洲文化,32,時(shí)代背景,60年代后期、70年代早期（1962-1973） 3個(gè)線索： （1）Johnny Carson (1962-1992) (60s)

12、 （2）手工縫制的拼布被子作為藝術(shù)品及珍藏品在美國流行始于1966年 （3）寫作時(shí)間（1973） 黑人權(quán)力運(yùn)動(dòng)（Black Power Movement）,33,黑人權(quán)力運(yùn)動(dòng),（1）過分強(qiáng)調(diào)黑人意識(shí)、黑人權(quán)力、黑人非洲文化 花哨、淺薄的非洲文化尋根 （2）排斥黑人的美國文化傳統(tǒng) 在美國文化傳統(tǒng)方面的無知與排斥,34,Black Power Movement,“Black Power” is a political slogan which expresses a range of political goals, from defense against racial oppression,

13、to the establishment of separate social institutions and a self-sufficient economy (separatism). The earliest known usage of the term is found in a 1954 book by Richard Wright titled Black Power. (“黑人權(quán)力”術(shù)語最初見于理查德賴特在1954年出版的研究非洲政治的著作黑人權(quán)力),35,Black Power Movement,Black Power Movement is a term used am

14、ong Black people in the USA in the mid-1960s. The movement was prominent in the late 1960s and early 1970s.,36,Black Power Movement,It emphasized racial pride and the creation of black political and cultural institutions (制度) to nurture (培育) and promote black collective interests and advance black v

15、alues. The movement aimed at a more militant (好戰(zhàn)的) approach towards securing civil rights, and stressed the need for action by Black people alone, rather than in alliance with White liberals (自由主義者).,37,Black Power Movement,Many Black Americans felt that the civil rights movement had done little to

16、alter their lives, and under such leaders as Stokeley Carmichael (斯托克利卡米歇爾) they proposed that Black Americans should concentrate in their own communities to establish their own political and economic power (“黑人權(quán)力”的核心思想是黑人必須掌控自己的事務(wù)，不再重視種族合作原則。它主張重新分配政治和經(jīng)濟(jì)權(quán)力，強(qiáng)調(diào)黑人意識(shí)、種族團(tuán)結(jié)、黑人社區(qū)的力量、黑人文化、歷史和制度的價(jià)值和意義，把黑人問題

17、的根源歸結(jié)為美國的社會(huì)制度。),38,Black Power Movement,In 1966 a Student Non-Violent Coordinating Committee (SNCC) (學(xué)生非暴力協(xié)調(diào)委員會(huì)) was formed by Carmichael to activate Black college students, and at the same time the Black Muslim Movement was advocating Islam as the Black salvation. Others, like the Black Panthers (黑

18、豹黨運(yùn)動(dòng)), emphasized violence and militancy (戰(zhàn)斗性), but all were concerned to stress the value of Black culture and heritage.,39,Black Power Movement,The riots (暴亂，暴動(dòng)) in the cities in the middle and late 1960s seemed to herald (預(yù)告) new waves of Black militancy, but the intensity of the Black Power Move

19、ment tended to decline in the early 1970s, when many Black people began cooperating with White organizations against the Vietnam War.,40,主題 認(rèn)同危機(jī),在白人文化占主導(dǎo)地位的社會(huì)中, 黑人傳統(tǒng)文化的認(rèn)同問題 identification crisis (1) 摒棄美國文化 負(fù)面、傷痛（無知、冷漠、排斥） (2) 認(rèn)同非洲文化 正面、根（花哨、淺薄、膚淺）,41,人物的象征意義,母親約翰遜夫人 - 普通美國黑人 大女兒迪伊 - 美國60年代民權(quán)運(yùn)動(dòng)中出現(xiàn)的黑人

20、權(quán)力運(yùn)動(dòng) 麥琪 - 被遺忘了的充滿苦難和傷痕的美國黑人文化,42,人物的象征意義,母親強(qiáng)壯、能干、勤勞、沒有受過多少教育、貧窮、缺乏自信（尤其是在白人面前）,代表普通美國黑人 迪伊的個(gè)人特征、服飾風(fēng)格和言辭用語則顯示她是黑人權(quán)力運(yùn)動(dòng)的象征 麥琪柔弱、自卑、丑陋、笨拙,胳臂大腿上還有燒傷的疤痕,象征疤痕累累的美國黑人的傷痛文化,43,母親的文化認(rèn)同,正面文化遺產(chǎn)（愛、親情、創(chuàng)造力、能力）- 能夠理解、認(rèn)同 負(fù)面文化遺產(chǎn)（傷痛文化）（黑奴制、種族隔離制、種族歧視）- 無助、無法面對(duì)、無力駕馭、逃避,44,對(duì)負(fù)面文化遺產(chǎn)的態(tài)度變化過程,（1）母親看到了麥琪的苦痛,表明她了解傷痛文化;卻從來沒有試圖撫

21、慰、鼓勵(lì)麥琪,甚至為她隱隱自卑,象征她無法撫平傷痛、無法面對(duì)傷痛、無法正確處理與小女兒的關(guān)系。她無法無視她的存在,卻又無法正面面對(duì)接受她、無力協(xié)調(diào)與她的關(guān)系。這對(duì)可憐的母女陷入了無法分離又無法靠攏的困境母親無力走出困境,惟有等待迪伊。 傷痛面前的無言和無助,苦難太過悲慘,無法安撫、無力面對(duì),45,對(duì)負(fù)面文化遺產(chǎn)的態(tài)度變化過程,（2）母親在文化認(rèn)同的困境中,試圖接受（不太理解、努力配合）漂亮、能干、堅(jiān)定的迪伊但她的自私和浮華無法真正得到母親的認(rèn)同 在文化認(rèn)同的困境中,試圖接受黑人權(quán)力運(yùn)動(dòng)所提供的解決辦法,但最終不能認(rèn)同黑人權(quán)力運(yùn)動(dòng)的膚淺及追求非洲文化的盲目,46,對(duì)負(fù)面文化遺產(chǎn)的態(tài)度變化過程,（

22、3）母親看到了麥琪在苦痛中頑強(qiáng)求生的力量,看到了傷痛文化的力量母親終于敢正視麥琪（傷痛文化） ,也重新認(rèn)識(shí)傷痛文化,第一次認(rèn)同了麥琪,擁抱了麥琪終于協(xié)調(diào)了與傷痛文化的關(guān)系,走出了她在文化認(rèn)同上的困境 勇敢面對(duì)傷痛文化,化悲痛為力量,同時(shí)不盲目尋根非洲文化,47,象征意義,Symbols: Two old quilts Fire House Mother Dee Maggie,趙藝紅. 日用家當(dāng)?shù)亩嗑S象征意義探析.東疆學(xué)刊.2009(1).,48,Symbol Two Old Quilts,The old quilts (para. 55), made from pieces of clothe

23、s worn by grand- and great-grand-parents and stitched by Grandmas hand, are clearly a symbol of the cultural heritage of the black people (黑人的文化遺產(chǎn)/傳統(tǒng)) (para. 80).,49,Symbol Two Old Quilts,The different feelings of Dee and Maggie about the quilts reveal their different attitudes towards their heritage as black. Dee hang them (para. 71) appreciate her heritage superficially Maggie put them on bed (put them into everyday use) (para. 68) really inherit her heritage The story told two different ideas of the sisters in solving the heritage problem.,50,Symbol Two Old Quilts