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首页> 外文学位 >'IT'S LOVE THAT MAKES REALITY REALITY': WOMEN THROUGH THE EYES OF SAUL BELLOW'S PROTAGONISTS.
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'IT'S LOVE THAT MAKES REALITY REALITY': WOMEN THROUGH THE EYES OF SAUL BELLOW'S PROTAGONISTS.

机译：“这是使现实成为现实的爱”：妇女通过索尔·贝洛的推动者的眼光。

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摘要

Critics who do not differentiate Saul Bellow from his protagonists accuse Bellow of being unable to draw living, breathing women. His portrayals of female characters do go beyond stereotypes, however, and even the stereotypes have a purpose. What Bellow provides, with the female characters, is a screen on which the protagonists project and expose their own incapacity to feel love or demonstrate their feelings.; Bellow's protagonists are lonely men, suspicious of their friends, unsure of their parents' love, unable to form lasting relationships with men or women. Paralyzed by anxiety and suffering from guilt and paranoia, they are unable to function in their life's work. They cannot, therefore, be trusted as reliable narrators or reflectors of what is occurring in their lives. Although they are trying desperately to understand themselves, although they profess to care deeply about philosophical and ethical issues, they have difficulty seeing themselves and their situations accurately. Because their ability to love is impaired, they are not able to recognize reality. They stop looking for answers. Rather than accepting responsibility for their impairment, they blame others.; In particular they blame women, the archetypal Other. Women have traditionally been held responsible by men for what men cannot or will not explain or do. Much of the protagonists' anger and frustration is directed at women because of their problematical relationships with their mothers. They yearn for nurturing mothers and run from women in whom they see their own evil impulses.; The way Bellow's protagonists see women, then, is a manifestation of their inability to see beyond their own distorted vision of their worlds. Bellow shows how the world looks to men who try to be more or less than human. Some of his protagonists strive to be exactly human; some come closer than others. If there is hope for humanity, says Bellow, it is in the striving.
机译：未能将索尔·贝娄和他的主人公区分开来的批评家指责贝娄无法吸引活着呼吸的妇女。但是，他对女性角色的刻画确实超越了刻板印象，甚至刻板印象都有其目的。贝娄为女性角色提供的是一个屏幕，主角可以在屏幕上投射自己的能力，以暴露自己无法爱或展示自己的感情的能力。贝娄的主人公是孤独的男人，对朋友充满怀疑，对父母的爱不确定，无法与男人或女人建立持久的关系。他们因焦虑和内and和妄想症而瘫痪，无法在生活中发挥作用。因此，他们不能被视为生活中正在发生的事情的可靠叙述者或反映者。尽管他们拼死拼搏地试图了解自己，尽管他们自称对哲学和道德问题深感兴趣，但他们很难准确地看到自己和处境。由于他们的爱情能力受到损害，因此他们无法识别现实。他们停止寻找答案。他们没有为他们的损害承担责任，而是责备他人。特别是他们责怪女性，原型他人。传统上，妇女要由男人对男人不能或不会解释或做的事情负责。主角的愤怒和沮丧大部分是针对女性的，因为她们与母亲之间的关系存在问题。他们渴望养育母亲，并从看到自己邪恶冲动的妇女中逃亡。贝娄的主人公看待女性的方式，则表明了她们无法超越自己扭曲的世界观。贝娄向那些试图变得比人类更多或更少的人展示了世界的面貌。他的一些主角努力做到完全人性化。一些比其他人更接近。贝洛说，如果人类有希望，那就在努力。

著录项

  • 作者

    REINER, SHERRY LEVY.;

  • 作者单位

    University of Cincinnati.;

  • 授予单位 University of Cincinnati.;
  • 学科 Literature American.
  • 学位 Ph.D.
  • 年度 1980
  • 页码 276 p.
  • 总页数 276
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 I712;
  • 关键词

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