摘要：
艾丽丝.门罗小说中塑造的“疯女人”形象鲜明,与之前作家笔下的同类形象有较大差异,呈现出一种全新的类型,颇具研究价值。本课题对比其他作家的经典文本,试图在对传统"疯女人”形象进行简单梳理的基础上,深入分析作者对该形象的再创造。门罗将这些“疯女人”塑造为冷静理智的语言操控者,掌握自己命运的观察者,独特的文学人物外在形象，内在思想区别于往常同类形象。
此外,论文挖掘了门罗小说中"疯女人"代表的原型及体现的意义，指出其类似莉莉丝的叛逆形象,以及在反叛传统过程中与男性共同面对命运的选择，暗示了一种全新的尝试与可能。门罗书写的当代女性视角下的两性相处模式包容性更强,在追求平等自由的基础上也注重携同合作,更符合社会发展的需求及女性生存现状，意义重大。
关键词:艾丽丝·门罗；“疯女人”；再创造
Abstract:
The image of "mad woman" portrayed in Alice Monroe's novels is distinct, which is quite different from the similar images written by previous writers. It presents a new type and is worth studying. Compared with the classic texts of other writers, this paper attempts to analyze the re creation of the image of "crazy woman" based on the simple carding of the traditional image of "crazy woman". Monroe portrays these "crazy women" as calm and rational language controllers and observers who control their own destiny, and the literary outward and inward image are also different from the usual images of the previous kind. In addition, the paper digs out the prototype and the significance of the "mad woman" in Monroe's novels, points out the rebellious image similar to Lilith, and the choice of facing the fate with men in the process of rebelling against tradition, which implies a new attempt and possibility. Monroe's writing of contemporary women's perspective of gender coexistence model more inclusive, in pursuit of equality and freedom on the basis of paying attention to cooperation, more in line with the needs of social development and women's survival status, of great significance.
Key words: Alice Monroe; "crazy woman"; recreation
1. Introduction
1.1 author introduction
Alice Monroe is a well-known short story writer in Canada. who was born on July 10, 1931 in Wingham, Ontario, Canada。she was renowned as“the greatest novelist of our time .” Her representative works include short stories collections "Happy Shadow Dance" and "Escape". In 1968, she published her first collection of short stories "Dance of the Happy Shades" with 15 short stories contained. which took 15 years to complete and won the Governor-General of Canada Literature Award. Monroe observes the ordinary life from an unique perspective. showing the traits of classic writer. thenceforward 14 works has been completed and won many awards. At the same time, these works were translated into 13 languages and publsihed all over the world. After the publication of "Happy Shadow Dance", Alice Monroe's writing career entered a golden period. The short story collection "Girls and Women's Life" Published in 1971;"My Youth Friends" published in 1973; "Who Do You Think You Are?" in 1978;"Escape" in 2004; "Overlooking the Stone City" in 2006, Alice's latest collection of novels is "Lovely Life" published in 2012. In 2001, the collection of novels "Hate, Friendship, Proposal, Love, Marriage", which was adapted into the movie "Leave Her" in 2006. On October 10, 2013, Alice Munro won the 2013 Nobel Prize in Literature which maked her the climax of literary achievement.
Alice Monroe's writing style is simple, delicate and concise. The stories in her novel are all refined from real life and are deeply loved by readers.Although Monroe described women's hearts and experiences, these women embodied a kind of active thinking with a standpoint. They ridicule the calm and harmonious atmosphere in life and believe in their unique destiny. They are sensitive to the external requirements for their transformation, and stubbornly refuse to cooperate.and these unique traits and certain external influence make them appeal neurotic.
Monroe's vision also transcendent the opposition and tension in the relationship between men and women. Perhaps, the reason why she chose women as the object of expression is more because of women's kindness, sensitivity, and rich emotions, while at the same time forbearing and strong minded, containing huge explosive power and instability. The heroine in her writings, in a peaceful life, swallows ridicule and dissatisfaction with life, while secretly growing the power of destruction, waiting for an opportunity, breaking the ground and budding, and quieting down after every outbreak, with bitterness Return to the original state. They disguised under the cloak of “mad women”,and waiting for their turning point of lfe.they are not like the other period “mad women” subbmisive to patriarch society, they regard the authority in defiance. Their ill-looking accentuated image is quite different from the previous good-looking and charming feature.they are more close to the reality and emotion infused.
1.2 research background
As a special group, "crazy women" are often regarded as abnormal people in real life. They are thought to have deviated from the normal social order. However, in literary works, writers skillfully use them to express their understanding of society. The creation and interpretation of "crazy women" in these writers' works contain different cognition and understanding of society and women's status, showing different cultural, social and historical connotations.
1.3 research significance
On the basis of discussing the image of "crazy woman" in English literature, this paper makes a deep thinking on the image of "crazy woman" in Alice Monroe's works, compares the image of "crazy woman" before, explains the recreation of "crazy woman" in Monroe's writing, explores the root of "Crazy" in Monroe's "crazy woman", and also discusses the literary value and social culture of "crazy woman"，showing the deep concern for their status and their prospect。the significance is discussed.
1.4 research methods
Literature analysis. By collecting and researching the relevant monographs, periodicals, dissertations, reports, newspapers and government documents, this paper systematically compares and summarizes the collected literature, so as to have a deep understanding of the image of "crazy woman" in literary works, and studies the image of "mad woman" in Monroe's works, and discusses its differences and significance.
1.5 literature review
The unique image of "crazy woman" is condensed and refined from real life, and it plays a important role in literary works
. What causes the madness of these women? Is it the shackles of a patriarchal society? Is it the depression under the development of social civilization? Or is it mental defection caused by personality traits ? It is thought provoking and sobering. The "crazy woman" has formed a sharp contrast between literary works and real life,“mad women”is often neglected and abandoned in reality. But it has become an important role in achieving value in literature
French thinker Michel Foucoult said in 《Madness and Civilization-The History of Madness in the Age of Reason》: "Madness is not a natural phenomenon, but a product of civilization."But Foucault’s criticism of rights in "Madness and Civilization" did not take gender into account. When he exposed the repressive concept behind the reform of the lunatic asylum, Foucault did not discuss the irrationality and difference that the lunatic asylum silenced and suppressed. It is feminine. In order to make up for the lack of sexism in the study of the history of madness, the American female critic Elaine Showalter wrote Women·Crazy·British Culture (1830-1980)" (female malade: women, madness, and English culture).two female scholars Sandra Gilbert,and Susan Gubar's work "The Mad Woman in the Attic—Women Writers and the 19th Century Literary Imagination" (the mad woman) in the attic opened a precedent for the study of mad women in Western literature. In the middle of the 20th century, Alice Monroe's novels have the theme on the study of female psychology, Scholars at home and abroad used sharp pens to discuss the origin and practical significance of these "crazy women", and shout and speak for these ordinary and ill-fated women.In many of Alice Monroe’s novels, the image of "crazy woman" has been changing since the time pass. Monroe recreates the typical image of "crazy woman" , innovating and portraying her as a calm and rational language manipulator，The observers who control their own destiny, rather than been manipulated by others, or submissive to the patriarch society, distinguish themselves from the usual artistic images of the same kind. They are not split with men but a choice to face their destiny together.
This paper sort out the classic "character images" of major male and female writers around the 19th century.
1.6 organization of the Thesis
This thesis comprised of five chapters.
Chapter one is the introduction section, which include the introduction to author’s background and literary achievement.
Chapter two include the premise of the research. the origin and development of the image of “mad woman” in English literary and the cornerstone of the thesis monroe’s recreation and innovation
Chapter three is the root of madness been discussed.
Chapter four is the root of madness by the rational of vision and image. Pespective from others and self as a standpoint
Chapter five is the summery of the research .
The “mad women” image in monroe’s works the recreation: self-consciousness promotion. determine destiny subjectively. cooperate replace split with other sex
On the base of classic representations of characters. The images of crazy women described by male writers before the 19th century are based on the "hamlet" Ophelia in "Faust", Margaret in "Faust", Havisham in "Great Expection" and the image of mad women in the works of female writers after the 19th century, bertha in "jane eyre", and antoinette in "the boundless sea of algae". In monroe’s novel Madeleine dawn rose 、Mrs.quins and Qin sha
Through the detailed description of the characters, Monroe's creation of the image of the crazy woman in the novel is highlighted. Analyzing, discovering the historical and cultural connotation and practical significance of different periods, setting off the inheritance and innovation of the "crazy woman" characters in Monroe's works, and highlighting the contemporary social contradictions and practical significance. It is worthy of people to ponder and discuss.
2. The origin and development of the image of "mad woman" in English Literature
2.1.the "mad woman" by male writers in the 19th century and before
The "mad women" in traditional literary works in the 19th century and before were mostly existed in the works of male writers. They were designed according to the wishes or expectations of men and showed as the state of being imprisoned in male texts. As a derivative of male roles, the image of "mad women" in this stage is still in the state of being said. Which is right or wrong is shaped by male writers who have long mastered the lifeblood of literature.
The image of Ophelia in Shakespeare's Hamlet mainly comes from the words of others. When Hamlet adored her, he said that she was as gorgeous as an immortal and the idol of his soul. When his attitude towards her changed, he satirized her with words and asked her to go to the monastery. Ophelia's limited words in the play are the recognition of her brother's persuasion, her father's obedience, and her refusal of Hamlet's love. Three male characters, Hamlet, father and elder brother, describe and control Ophelia and control her speech.
In Goethe's Faust, Margaret falls in love with Faust, which indirectly causes her mother to die of overdose, her brother is stabbed to death, she is unmarried and pregnant, and finally goes mad in prison. All the circumstances of Margaret are described by Faust, including her beauty, her love, and the tragedy after her madness. Her fate is in the hands of Faust and Mephisto, because Faust wants to get her, seduces her with the help of the devil, makes her far away from her family and can only rely on herself. Her words mainly revolve around Faust. Tell of missing your lover, regret your crime, and pray for your love.
Through Pip's observation, Dickens' great expectations portrays miss Havisham into a cruel and vicious woman, with a withered body, wearing an old yellow bridal dress, and living in a dark room. Her current situation is shown to readers through the eyes of male narrators. Her experience is not described by her own, but told by Herbert to PIP. This image of "mad woman" who was abandoned and never recovered and felt vindictive, rose from men and ran through the rough fate of the rest of her life, making miss Havisham a aphasia and victim under the male eye.
From the above examples, we can see that the male writers in this stage influenced the readers' understanding through their own narration or the male characters' interpretation of "crazy woman". These "crazy women" belong to the false products constructed according to the will of men. On the one hand, the writer endows the characters with life; on the other hand, he deprives them of their subjectivity, deprives them of the ability of subjective speech and forcing them to be silent.
2.2 "crazy women" in the works of female writers after the 19th century
In the 19th century, female writers emerged. The "crazy women" in this stage start from women's own point of view, explore and describe the complex process and causes of the formation of "crazy women", rather than just describe their crazy state. They try to show the victims of the patriarchal society.
Although Bertha, the "mad woman" in Jane Eyre, aims to set off the heroine's beautiful quality and independent personality, but because the story is narrated by female characters, it still shows traces of female self-expression. Bertha's revenge is targeted, and the object of her revenge is only two people. Rochester, the main person responsible for her misfortune, and Mason, the accomplice of the marriage, are not substantially hurt. Some researchers believe that Bertha is Jane Eyre's "dark double". Female writers create dark double for themselves and their heroines, which means that they not only agree with the self definition imposed on them by patriarchal culture, but also modify this self definition. Although Bertha never said anything, the author expresses her sympathy and understanding of Bertha, a "mad woman", through Jane's narration.
Jane Reese's the boundless sea of algae is regarded as the prequel of Jane Eyre, which makes Bertha the protagonist. Antoinette, as one of Bertha, spoke in her own words for the first time. There are two parts in the text. She not only has her own experience, her own pain, but also her own thoughts. This work makes up for the lack of depiction of Bertha in Jane Eyre, explores Antoinette's growth history, and details the contradiction and intensification process between husband and wife. This work highlights the formation of Antoinette's character and the causes of the tragedy. It shows us a more complete "mad woman" with flesh and blood, and reveals the fact that "crazy women" are mainly driven crazy.
To sum up, the "crazy women" in the works of female writers in this stage are mostly displayed from the female narrative perspective, and gradually show signs of self-expression, intending to seek self-expression and carry out fierce resistance. Although the outcome is not ideal, it is a good attempt. As some researchers have said, in patriarchal culture, women's speech and women's resistance to male hegemony are linked together.
2.3. Alice Monroe recreates "crazy woman"
2.3.1, inheritance and development
Monroe's works follow the famous marginalized literary image of "mad woman" in the history of literature, which is shown in many stories.
"Fritz road" tells about Uncle Benny and Madeleine married, but Madeleine acts violent, and finally quietly leaves with her children in the new home of Fritz road.
"Freak" tells the story of the No. 2 dawn rose, writing anonymous notes to intimidate his father. "The love of a good woman" tells the story of Mr. wellens who died in an accident in a small town. In fact, he is killed by the Quines and creates the illusion of drowning. Theresa in mana has the special function of perspective.
Monroe developed the image of "mad woman". She describes the appearance of "crazy women" in detail, and each "crazy woman" has a specific image. The behavior patterns of "crazy women" are also different, so they are highly readable and researchable. Of course, the "crazy women" in Monroe's works did not get rid of the fate of being imprisoned and criticized by the traditional "crazy women", but it was not limited to this. In various confined spaces, their personal freedom was once restricted. But Monroe makes the story's direction full of surprise in the routine, and the fate of the "crazy women" has changed.
2.3.2 innovation and Transcendence
Monroe created the image of "crazy woman" to a certain extent. First, Monroe buried strong doubts about the madness of "crazy women" in his novels. After reading several of her short stories, readers will ask: is Madeleine really the "crazy woman"? Why does dawn rose have such a ridiculous behavior? What is the source of Mrs. Quine's dissatisfaction? What's the matter with Tessa? The overlapping stories cover up many truths, and we need to get rid of the fog to find out. Second, Monroe carefully dealt with the remarks of "crazy women". "Crazy woman" has its own clear voice is a leap forward. Their words are heard by others and can promote the development of the story or trigger thinking, and become a tool for them to face up to their own destiny and form their own subjective consciousness. Thirdly, Monroe reformed the ending of "crazy woman". Most of these "crazy women" in Monroe's works get rid of confinement at the end, return to reason and return to normal life. Madeleine left Frazier Road, left her family, and disappeared. Dawn rose found a job in the shoe factory, married a farmer, and never again did anything crazy. On her deathbed, Mrs. Quine told the nurse who took care of her about the real cause of Mr. wellens's death. Tessa works as a baker in the hospital. None of them fell into madness or hopelessness. On the contrary, they all walked out of their own way.
3. The root of madness in Monroe's "mad women"
3.1 the vision of the other
The "mad women" in Monroe's works have no congenital primary insanity, but become "mad women" in the eyes of others due to the acquired reasons. The reason is mainly from the family pressure or the indifference of close people, from the perspective of others.
Madeleine did not choose her own marriage, but was forced by her family to become a mail order listener. Benny first saw the advertisement of a single mother looking for a home in the newspaper. After contacting, she received a reply from Madeleine's brother. When Benny went to see Madeleine, her family had already prepared for the wedding. After macirene disappeared, Benny called her brother to ask if she was going to go. But he didn't care much about where she went. Madeleine was abandoned by her closest family after she was ordered to marry casually, and her child's father never made an appearance. These indifferent eyes of others make her transfer her resentment and anger to other individuals and vent her anger in an extreme way, becoming a violent "crazy woman".
Mrs. Quine is suffering from terminal illness. Although the family has hired a nurse to take care of her, her husband has been living in her sister's house, and he does not care enough about her. As a result, her irritability due to illness has not been relieved and intensified. Her husband's sister, Mrs. Green, did not like her at all. She questioned the nurse about the cause of her illness and her origin. As soon as Mrs. Quine died, she was very excited to plan a move and take over the two children. At the end of her life, Mrs. Quine was like an outsider. It is the indifference and hostile eyes of others that make her a "crazy woman".
Qin Sha was pushed to the forefront of the storm because of a report by Aoli. She left her hometown and followed him to meet with research groups. She was tested as a scientific research object day after day. When the conclusion drawn by the researchers led to the withdrawal of sponsorship funds, she took part in tour performances to make money. Ollie, as a science reporter, is just trying to make a profit from Tessa. When Tessa had a headache under the pressure of other people's eyes and was sent to a private hospital, Ollie disappeared and never went to see her again. She also became a "crazy woman" under the pressure of other people's eyes.
3.2 definition of self
The "mad woman" written by Monroe is calm and rational, and can make a favorable statement to herself. With the help of language, relying on the appearance of madness, she manipulates the situation and achieves her own goal.
In freizz Road, Madeleine knows that her marriage to fritze road is not to get rid of the past, but to move from one place where she is not free to another. To the friendly invitation, she said, "I don't go through the gravel road unless I have to.". Even alert to children, for example, to Dale, "you're going to watch me?" "You little villain. Despicable watchers She knows that even small things can be spread in this small place through children. Therefore, she has mastered the initiative to a certain extent, arouses people's disgust through various kinds of maliciousness, so that people no longer pay close attention to her as a stranger, so as to achieve the ultimate goal of escape. The image of "crazy woman" created by her initiative is one of her weapons to get rid of control. Dawn rose satirizes her father's glorious fighting history as a flimsy lie. This accusation seems absurd, but there is evidence to follow. Her father is said to be well-known for fighting, but it was the man with a glorious history of fighting that broke him down with just a few threatening letters, and sat all night at night in case of accidents, thinking and speculating. The awakening of self-consciousness makes Liming rose create family chaos, which makes the people who control the family rights become imperfect because of her "Crazy" behavior, and form a relatively equal situation with her. On this basis, she completes the construction of her self-identity.
To sum up, the "crazy women" in Monroe's works can effectively control a certain right of speech. With the help of the image of "Crazy" formed by these discourse rights, she has obtained self-identity and the affirmation from the outside world.
4. The significance of "mad woman" in Monroe's works
4.1 the prototype of "mad woman" before Monroe
Some researchers believe that the images of "mad women" created by male writers present two types of extreme differentiation: Angel type and devil type. In fact, not only the "crazy women" in male writers' works have such characteristics, but many female writers' "crazy women" still have such a kind of image, especially the devil type.
Angel type "crazy woman": Ophelia in Hamlet is lovely and moving before going mad, still quiet and beautiful after going mad, singing inexplicable ballads, without interfering or influencing anyone with her words and deeds. Margaret in Goethe's Faust is also an example. Ophelia and Margaret are gentle and beautiful, harmless to people, and like angels. This kind of angel "mad woman" image actually stems from the worship of the Virgin Mary. In the literary works in line with the male imagination, women with the virtues of obedience, passivity and selflessness are the "angels" of the Virgin Mary. The ideal female images in the works of male writers originated from the worship of the Virgin Mary. This kind of angel image reached its peak in the 19th century literature. At this time, the appreciation of female purity was gradually replaced by a more secular image, instead of adhering to the Virgin Mary. Women who refuse to obey men's definition of them, think actively and act according to their own will and are unwilling to give selflessly are classified as "demons". There are a large number of "crazy women" in the classic works. These "crazy women" are bold and disobedient. After going mad, they are angry and violent, which is harmful and destructive to a certain extent. For example, Lady Macbeth in Shakespeare's Macbeth encourages her husband's ambition and instigates her to kill the king instead. After being cheated, Havisham in Dickens's great expectations suffered a serious illness. After her illness, she resorted to any means to retaliate. This kind of "mad women" seems to have vicious intention to overthrow men, but in fact, they are still under the control and influence of patriarchy. All the ambition and desire of his wife come from her love for her husband and her expectation of becoming king. Her husband is everything to her. Miss Havisham's desire for marriage is in accordance with the requirements of the patriarchal society, and the fact that she has never taken off her wedding dress in her life is the greatest proof that her words and deeds are constrained by patriarchy,
The "mad woman" based on the Virgin Mary has the following characteristics: first, the purpose of existence is mainly male; second, words and deeds conform to the requirements of patriarchy; third, lack of judgment and Realization of self-worth. In essence, such "crazy women" are the differences of obedience in a typical patriarchal society.
4.2 the prototype of "mad woman" in Monroe's works
The "crazy woman" in Monroe's works has a deep rebellious factor, which may be derived from the image of Lilith in early literature.
In Hebrew Mythology, Lilith's first woman is also the first monster. Lily is Adam's first wife, like Adam, created by God in clay, but not in summer surname. Because he thought he was born equal to Adam, he refused to submit. After a big fight, he called out the name of God, left the garden of Eden and flew to live with the devil on the Red Sea. God sent the angel to persuade her to return, otherwise in one day, she would die of 100 children born to the devil. Lilith was fearless and retaliated by killing the offspring of Adam. Lilith has gradually become a female pronoun of rebellion and resistance in western culture, and is reflected in literature.
The new "crazy woman" in Monroe's works presents a subversive form similar to Lilith, which is mainly manifested in the following aspects. First, Monroe has created a clear and unique neutral appearance for the "crazy woman" in his works. The image of "mad woman" in previous works is almost indistinct, while Monroe describes a kind of "mad woman" appearance which lacks traditional feminine temperament. These "crazy women" from the appearance of the contrary to the traditional female aesthetic: Madeleine "long legs like scissors.". Dawn rose, after her sister came home, found that she had "become a tall and stout girl, her loose breasts swaying in her skirt, and on her broad red face, her old cunning childishness was replaced by a stupid and stubborn look. "From Monroe's description, it can be found that the appearance of these" crazy women "is not in the mainstream aesthetic sense, such as beautiful, lovely, delicate and moving, but rather thin and slender. The appearance of male body and body features, to a large extent, blurs the gender boundaries, which corresponds to the masculine courage shown by Lilith. Second, Monroe negates the maternal characteristics of "crazy women". Their reproductive function is in a state of natural loss or artificial negation, and even if they have children, they can not perform or despise the mother's responsibility, which is gradually departing from the general recognition that women must exist as mothers. Lilith takes childbirth and children as tools to fight with God, and they are similar. Madeleine abused her young daughter, leading to a lack of security,. The indifference and indifference of Mrs. Quine to her two daughters is also obvious to all. It is a kind of cold violence that makes children hurt. These two "crazy women" are dismissive of their mother's duties for their children.
Thirdly, the "crazy women" in monroe's novels have their own clear value judgment, and they no longer take following and meeting the requirements of patriarchy as the ultimate goal. Lilith's revenge was bold. She fled because of unequal treatment, and turned to fight God after the angel's persuasion failed, and once made the war even. Like Lilith, the "crazy women" in Monroe's works suffer from the unequal treatment of patriarchal society in their life. They actively seek their way out independently. They no longer act in a burying way, but are rational reality. We are glad to see that the "crazy woman" in Monroe's works has gone out of its own way, and the semi open ending of the story also shows us infinite possibilities and imagination.
4.3 the significance of "mad woman" in Monroe's works
The "crazy women" in Monroe's works no longer experience the ups and downs of the fate of "crazy women" in the traditional works, but return to the daily life and experience a relatively stable and dangerous development. Monroe killed angels and demons, wrote the story of mortals, and helped "mad women" find their own place in life.
The smooth return of "crazy women" is essentially due to the improvement of their self-consciousness. Monroe showed us the change of "crazy woman" self-consciousness mainly from two aspects of physiology and spirit. Firstly, the unique natural attribute of "crazy woman" in the physiological level, self reducing female temperament, not forcibly catering to the requirements of the patriarchal society. Secondly, the self-consciousness of "crazy woman" in the spiritual level has a strong social attribute, that is, in contrast with the power owners, they seek identity and seek a reasonable way out.
Madeleine was not willing to marry Benny. She clearly realized from her heart that she did not belong to frizzle road. Her usual unfriendliness made her unable to integrate into the place. Therefore, Madeleine's violence was constantly escalating. To some extent, Madeleine's self-consciousness gradually strengthened with the escalation of violence. She gained self affirmation and recognition from the outside world in comparison with her gentle husband Benny (people in freundz road agreed that she was a "crazy woman" and respected her far away), and finally gained her independence and freedom by running away. The real power masters of dawn rose family are their father Billy and their elder sister violet who has certain power. Her first anonymous letter said her father had been robbed, and her second began to write about how to kill him. After violet launched an investigation, the anonymous note was also targeted at her. Violet, as a model of family members, is the backbone of the family. In this strong contrast, dawn rose has been ignored for a long time, and gradually confused about self-identity. The awakening of self-consciousness makes dawn rose lose her fiance indirectly by creating family chaos. The image of violet's perfect elder sister is no longer, and dawn rose returns to normal. Liming Zhigui turns the two powers into an imperfect degree of relative equality with themselves, and completes the construction of self-identity on this basis.
To sum up, "crazy women" can pay attention to self-development, and make a successful adjustment of self position. Monroe does not advocate Gender Antagonism, on the contrary, she advocates equality beyond gender in her works. In his novels, Monroe provides a new possibility, that is, when women face difficulties, they no longer stand in a purely opposite position with men, but in reality they face the fate together with them, making some situations turn around. Monroe not only widely absorbed feminism, but also did not base on it. Instead, through her own thinking, she clearly and creatively raised questions, that is, how should contemporary women live in themselves and how to face the situation in life with men. Her new model in her works provides us with a rational demonstration,
Summary
Alice Monroe created a fascinating world with her short stories, in which all kinds of female characters are everywhere, and the image of "crazy woman" occupies a place with its uniqueness. In her many works, the writer breaks the traditional literary stylization of "crazy woman" and presents a new image of "mad woman" different from the past. With the new recreation of the image of "crazy woman", the writer reflects in detail the process of self-consciousness promotion of this group, and reflects the concern and thinking about the fate and outlet of contemporary women.
Monroe does not emphasize gender differences as much as radical feminism, nor does postmodern feminism try to blur gender and attach importance to gender integration. She skillfully finds a balance between the two. She sets the story in a situation where both sexes need to solve problems together, and more practically explores the co-existence strategies of most non feminists, And seek the possibility of further development.
reference:
[1]耿莉莉.爱丽丝·门罗与玛格丽特·阿特伍德作品之生态女性主义比较研究[J],（11）13-17
[2]孙玲玲..解构罗切斯特的殖民中心话语,还原阁楼上的疯女人[J].名作欣赏.2014（12）28-32
[3]沈超琼.压迫、抗争和不完全胜利——《黄色墙纸》和《简·爱》中的疯女人比较[J].大众文艺.2019（9）18-22
[4]梁晓晖; 刘孟丹; 杨天伦.逆写小说中的概念整合——《藻海无边》对“疯女人”的改写重塑[J].外语学界.2020（6）17-23
[5]魏淼.对英美女性文学中“疯女人”形象的发展演变探微[J].长治学院学报.2019（8）15-18
[6Bondage and resistance -- on the image of "mad woman" in the hustle and bustle of the shrapne[J]l.The Journal of Modern British & American Language & Literature.2019（9）29-33
[7]Adam M Finkel ScD CIH.Foucault's interpretation of the images of mad women in Jane Eyre and the boundless sea of algae[J].The Journal of Modern British & American Language & Literature.2019（1）20-25
