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论文作者:留学生论文论文属性:硕士毕业论文 dissertation登出时间:2021-12-31编辑:vicky点击率:2689
论文字数:30256论文编号:org202112141441563587语种:英语 English地区:中国价格:$ 44
关键词:英语文学论文
摘要:本文是一篇英语文学论文,笔者认为作为当代女作家,莎拉·沃特斯广泛关注历史、哥特式、女权主义,尤其是女同性恋。她热衷于审问和重新评估过去,这在她的作品中得到了很大的体现。在这方面,她被视为历史小说大师,关注哥特式叙事和女权主义。
The villain in the novel is Richard Rivers, the so-called Gentleman, who he himself confessed “a villain” (Fingersmith 237) is a swindler and “devil” (Fingersmith 153, 283) as Sue and Maud conceived. He double-crossed the two heroines simultaneously through playing tricks to incarcerate Sue in the private lunatic asylum and confine Maud in the thieves den at Lant Street in order to get the huge legacy that the two girls would inherit from Marianne Lilly. His illegal imprisonment of Sue seriously threatened her life. And after bringing Maud to Mrs. Sucksby‟s thieves den, he showed his true colors and treated her violently as other villains did in the most female Gothic fictions. He kept striking her when she revolted against the confinement and hit her when she was caught and brought back after her attempting to escape.
Christopher Lilly, Maud‟s uncle, is another typical female Gothic figure in Fingersmith. Standing for the figure of the Victorian patriarchal “father,” he is a peevish and cruel pornographic scholar who was addicted to copying and cataloguing collections of pornography and a self-confessed “curator of poisons” (Fingersmith 208). He, a tyrant, believed long skirts were “unhealthy” (Fingersmith 107) and compelled Maud to dress to his fancy, but those clothes he commanded were short, strange and constrained, which can be revealed from Sue‟s eyes.
The Development of Female Gothic in Fingersmith
Sarah Waters, as what is aforementioned, largely continued the tradition and quintessence of the female Gothic from various aspects in Fingersmith. However, th eauthor argues that Fingersmith is a contemporary female Gothic, which “exposes gender-based terrors” (Wisker 9), and Sarah Waters “replay some of the concerns of the past but from a different gender-based vantage point” (Wisker 9).
Indeed, Waters‟ heroines, Maud and Sue, are victims of the cruel patriarchy in the Victorian age. Nevertheless, it needs to take into account the fact that both of them are not seemingly innocent female victims but devious swindlers who attempted to fraud the other for the sake of themselves. As what Benjamin A. Brabon and Stéphanie Genz (2007) pointed out in their reading of Sarah Waters, Waters‟ novels “persistently refuse to reclaim women „for good,‟ neither saving them nor solving their problems” (28), and instead they “enable women to become properly defined as women” (28). In a sen本论文由英语论文网提供整理,提供论文代写,英语论文代写,代写论文,代写英语论文,代写留学生论文,代写英文论文,留学生论文代写相关核心关键词搜索。