Illa

出版者:DES FEMMES

作者:Hélène Cixous

页数:212

出版时间:may 6 1980

价格:EUR 11.00

装帧:Broché

isbn号码:9782721001801

具体描述

In her novel Illa (1980) Cixous restructures the story of Persephone and Demeter. The Greek goddess Persephone, according to legend, was the daughter of Zeus and Demeter (the Roman goddess Ceres, goddess of crops and fertility). She was abducted and raped by Hades and forced to be his wife. Demeter searched for Persephone and, grieving over her disappearance, decided that the land would be infertile until she was reunited with her daughter. Zeus brokered a deal that would allow Persephone to reside with her mother for two-thirds of the year; for the other third she would be imprisoned in Hell with Hades. Greek mythology uses this myth to explain the earth's barren condition during the winter months. In Illa, Cixous highlights the male-dominated, colonizing aspects of this tale and changes the story to reflect a more self-determined, feminist text. In Illa, she celebrates camaraderie among women, underscores women's link with nature, and highlights the feminine goals of love and nonviolence.

作者简介

A major figure in contemporary feminist critical theory, Cixous is known for works that analyze and attempt to counter Western culture's traditional concepts of male and female. Cixous is best known for her essay collaboration with Catherine Clément, La jeune née (1975; The Newly Born Woman) and her essay "Le rire de la Méduse" (1975; "The Laugh of the Medusa"). Both texts are recognized as being markedly influenced by the writings of Jacques Derrida, the French philosopher and founder of the critical method known as deconstructionism; Michel Foucault, the French philosopher and historian who rejected the theory of human nature and was a proponent of the notion of an ever-changing self; Jacques Lacan, the French psychoanalyst and philosopher who proposed a linguistic theory of the unconscious; and Sigmund Freud, the originator of psychoanalysis. A proponent of écriture féminine, or feminine writing, Cixous strives in all of her works to establish a uniquely feminine perspective, both to correct what she and many feminist theorists view as the traditionally masculine character of Western discourse and as a methodology with which to critique that discourse.

用户评价

我得说，这本书的阅读体验简直是一场马拉松，不是因为它篇幅特别长，而是因为它在情感深度上对读者的要求极高。它探讨的主题很宏大，关于背叛、救赎与遗忘，但作者处理得非常克制，没有那种呼之欲出的说教感。相反，他通过一系列看似日常却又充满张力的场景来展现这些主题。最让我震撼的是后半段关于时间流逝的描绘，那种看着曾经拥有的东西一点点消散，却又无能为力的无力感，简直是刻骨铭心。我不是一个容易被情节牵着走的读者，但我发现自己完全被这本书的内在逻辑所折服。它成功地构建了一个封闭的、自洽的世界，让人愿意相信这个世界里发生的一切都是可能且真实的，即便它充满了悲剧色彩。

这本书的节奏感简直像一场精心编排的爵士乐即兴演奏，充满了变化和惊喜。它最吸引我的地方在于，作者似乎并不急于给出答案，而是让你沉浸在那种充满不确定性的氛围中，享受追寻真相的过程。书中的一些对话场景设计得极其精彩，看似风平浪静的交谈之下，实则暗流汹涌，每一次停顿、每一个眼神的交汇都充满了言外之意。我特别喜欢作者对非物质性价值的描绘，比如荣誉、面子在那个特定环境下的分量，这远比单纯的金钱纠葛来得更有张力。这本书读起来很“费脑子”，因为它要求你不断地去填充那些空白，去解读那些留白，但正是这种主动的参与感，让阅读过程充满了乐趣和成就感。它不是被动接受的故事，而是需要你主动去构建的体验。

这本书给我的感觉非常“老电影”。不是说它内容陈旧，而是那种韵味，那种对细节的考究和对情绪的细腻处理，让人联想到那些经典的黑白影像作品。我尤其喜欢作者对人物内心独白的描写，那种近乎诗意的语言，将人物内心的矛盾和挣扎表现得极为深刻。比如，主人公在面对重大抉择时的那种彷徨和自我怀疑，读起来让人感同身受，仿佛我们自己也站在了那个十字路口。这本书的语言风格非常独特，时而尖锐犀利，时而又温柔缱绻，像一条蜿蜒的河流，时而湍急，时而平缓。它没有用太多炫技的词汇，但每一个用词都像是经过千锤百炼，精准地击中了要害。看完之后，我感觉心灵被彻底洗涤了一遍，对“选择”这个概念有了全新的理解。

翻开这本书，我感觉自己好像坐上了一艘时光机，直接回到了那个纸醉金迷又暗流涌动的年代。作者对社会百态的观察入木三分，每一个角色都活灵活现，仿佛能从字里行间看到他们的呼吸和心跳。故事的推进节奏把握得恰到好处，时不时给你一个意想不到的转折，让你不得不放下手中的一切，直到读完最后一页才肯罢休。尤其是一些关于人性复杂性的探讨，真的让人深思良久，那种在光鲜外表下隐藏的挣扎和无奈，被描绘得淋漓尽致。这本书的魅力就在于，它不仅仅是在讲述一个故事，更像是在为你揭开一个时代的真实面貌，那种历史的厚重感和人生的无常感交织在一起，让人回味无穷。我特别欣赏作者的笔力，那种老派的叙事风格，沉稳而有力，没有丝毫浮躁之气，读起来非常过瘾。

说实话，这本书的结构安排简直像一个精密的机械装置，每一个零件都咬合得天衣无缝。我一开始还觉得情节有点慢热，但很快就被那些看似不经意却又处处埋下的伏笔深深吸引了。作者玩弄叙事技巧的功力可见一斑，一会儿是第一人称的亲密倾诉，一会儿又跳到上帝视角的宏大叙事，这种切换自然流畅，丝毫没有生硬感。更绝的是，他对环境氛围的渲染达到了出神入化的地步，那种潮湿阴冷的街道，或是奢华却空洞的宴会厅，都能通过文字跃然纸上，让人身临其境。读到一半的时候，我甚至开始猜测谁是真正的幕后推手，那些看似无辜的人物，突然间都有了可疑的动机，这种层层剥开真相的过程，简直是智力上的极大享受。这本书绝不是那种读完就忘的快餐文学，它需要你全神贯注地去品味，去梳理那些错综复杂的关系网。