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TheCalculusofLoveandNightmare:TheHandmaidsTaleandtheDystopianTraditionLOISFEUERReviewersofMargaretAtwood*sTheHandmaidsTalcinvariablyhaileditasafeminist1984/1andlikemanyhandytagsthisoneconcealsapartialtruth.Acloserlookhoweverrevealsnotonlythesimilaritiesbetweenthetwonovels*totalitariansocietiesbutthewaysinwhichAtwoodsworkgoesbeyondOrwellsinmattersofstylethatbecomemattersofsubstanceaswellasinthefeministdebateoveressentialismthatAtwoodbringstothedystopiantradition.ThenoveltransformsthattraditionstylisticallyaswellasthematicallyasAtwoodawareofherpredecessorsapersistentAtwoodtrait:considertheparodyoftheGothicinLadyOraclefbrexamplebothparticipatesinandextendsthedystopiangenre.爱与嚓魇的演算:女仆的故事与反乌托邦传统》TheCalculusofLoveandNightmare:TheHandmaidJsTaleandTheDystopianTradition洛伊斯F才玛格丽特•阿特伍德MargaretAtwood的《使女的故事》TheHandmaidTsTale的评论家们总是把它誉为“1984年的女权主义”，就像许多方便的标签一样，这本书掩盖了部分事实仔细一看，然而，不仅揭示了两部小说之间的相似之处的极权主义社会，但阿特伍德的作品超越了奥威尔的方式，在风格方面成为重要的物质以及女权主义争论“本质论”阿特伍德带来反乌托邦的传统小说在文体和主题上都改变了阿特伍德对其前辈的认识这是阿特伍德一贯的特点比如《神谕夫人》LadyOracle中对哥特式的戏仿，既参与了反乌托邦风格，又扩展了这种风格”Thattraditionisasignificantoneintwentieth-centuryliteraturereplacingearlierutopianvisionsofparadiseregainedwiththenightmarerealizationthatbythetimeindustrialtechnologyhadmadethecontrolledorderedsocietypossiblewcmightnolongerbewillingtopaythecost.Thechoice-betweenhappinesswithoutfreedomorfreedomwithouthappiness-ispresentedbyDostoyevskysGrandInquisitorbyZamiatinsWell-DoerbyHuxleysMustaphaMondbyOrwelTsOBrienandbyAtwoodsAuntLydiatrainerofhandmaidsandexplicatoroftheregime*srationalefbritsoppression..!BecauseOrwelFsworkisthebestknowninthisseriesitisto1984thatTheHandmaidsTalehasmostfrequentlybeencompared.这一传统在20世纪的文学中是一个重要的传统，它取代了早期的乌托邦式的重新获得天堂的幻想，取而代之的是噩梦般的认识:到工业技术使受控、有序的社会成为可能时，我们可能不再愿意为此付出代价陀思妥耶夫斯基的《大检察官》、扎尼廷的《行善者》、赫胥利的穆斯塔法・蒙德、奥威尔的《奥布莱恩》以及阿特伍德的姨妈莉迪亚一一女仆的培训师和政权压迫理论的阐释者一一给出了没有自由的幸福和没有幸福的自由之间的选择因为奥威尔的作品是这个系列中最著名的，所以《使女的故事》最常被拿来与1984年作比较Theresemblancesaremanyandperhapsinescapablegiventhetotalitarianregimesunderwhichbothprotagonistslive.Inbothwehavethedistinctivelymodemsenseofnightmarecometruetheinitialparalyzedpowerlessnessofthevictimunabletoact.Paradoxicallygiventhismoodofwakingnightmarebothnovelsusenighttimedreamsandmemoryflashestorccapturctheelusivepastthroughwhichtheirprotagoniststrytoretaintheirindividualhumanity.Butindividualhumanityisofcourseundesirableinthesociety-as-prison;asinKafkasemblematicpenalcolonylanguagebooksfbrsocietyortofeministessentialists.Atwoodreveals.infactaprofoundresemblancebetweenthesetwoapparentlypolarizedviews.EachseesitsopponentsastheOtherabstractingsothatitmaydehumanize.!Ineachcasethisabstractingisbasedonessentialistnotionsoffeminine*andmasculinethatbelietheirvariousmixturesintheuniqueindividualordenythepossibilitiesofalifewithoutsuchlabels.ISThisinsightintotheconvergenceofthetwoapparentextremes-aninsightheldwhileyetdistinguishingthetwosharplyrefusingthefocilenessofamereextremesmeetv-s-makesthenovelsfeminismmorecomplexandmoresubtlethanthelabelfeminist1984canconvey.TheCommanderscritiqueofwomenspastourpresenthasenoughtruthinittomakeOffrcd-andus-uncomfbrtablc:heremindsherofthemeatmarketdegradationofwomendependentonfindingmen284andOffredrememberstheunwrittenrules*ofsafetywomenfollowedtodealwiththethreatofrape32-

33.Theissuehereiswhatourpresentfreedomcostsusweighedagainstthepricethefundamentalistrightexactsfbrtheprotection1ofwomeninGilead.PartofAtwoocfscontributionistoshowcostsatbothendsofthespectmmintheessentialistdebate:thewomansculture*thatOffredsmotherenvisionedhaseventuatedintheoppressionshethoughtshewasfightinginburningpornographicmagazines.Atwoodlooksexplicitlyatthethesisthatweareourownenemies;thefundamentalistconservativeswhocreateGileadbyoverthrowingAmericandemocracyuseasaguideaCIApamphletondestabilizingforeigngovernmentsproducedbythatverydemocracy.InlikemannertheessentialismofOfTredfsmotherandher“womanscultureunintentionallysupportstheessentialismofthefundamentalistright.AsSageputsitWhatAtwoodisafterhere-oneofthebookspersistentpolemicalprojections-isthetendencyinpresent-dayfeminismtowardsakindofseparatistpurityamatriarchalnostalgia...Ithat]threatenstojoinforceswithright-wingdemandsfbrtraditionalvalues

07.OffredrememberstellingMoirathatifMoirathoughtshecouldcreateUtopiabyshuttingherselfupinawomen-onlyenclaveshewassadlymistaken.Menwerenotjustgoingtogoaway*

223.AsGreenepointsout.AtwoodoftersacruelrefiitationofseparatismwhenshehasMoirafindherseparatistutopiawithavengeanceatJezebels.unofficially-sanctionednightclubbrothelwhereunassimilablefemalesprofessionalsandlesbiansendup-c-butchparadise.*asMoiracallsit.”!”WritingatroughlythesametimeasAtwoodTeresadeLauretismakesananalogouspointdiscursivelyratherthanfictivcly.Indescribingthelimitationsfbrfeministtheoryoftheconceptofsexualdifferenceshesays:Thefirstlimitof*sexualdiflcrcnccis.thenisthatitconstrainsfeministcriticalthoughtwithintheconceptualframeofauniversalsexoppositionwomanasthedifferencefrommanbothuniversalized;orwomanasdifferencetoutcourtandhenceequallyuniversalizedwhichmakesitverydifficultifnotimpossibletoarticulatethedifferencesofwomenfromWomanthatistosaythedifferencesamongwomenorperhapsmoreexactlythedifferenceswithinwomen....Fromthatpointofviewtheywouldnotbedifferencesatall.andallwomenwouldbutrenderdifferentembodimentsofsomearchetypalessenceofwomanormoreorlesssophisticatedimpersonationsofametaphysical-discursivefemininity

25.PreciselythiseradicationofirreduciblyindividualwomeninfavorofWoman-liesatthemeeting-pointofessentialistfeminismandthehindamentalistrightinHandmaidsTale.ThusAtwoodhascritiqued“discoursesconcerninggenderincludingthoseproducedorpromotedasfeminist

112.anongoingtaskdeLaurctisconsidersvitaltofeminismgiventhepersistenttendencytorelapseintoanexcessivelygenderizedview.InTireHandmaidsTaleAtwoodanticipatesrecenteffortstomovebeyondtheessentialist/anti-essentialistsplitinfeministtheorybycriticssuchasLindaAlcoffwholookforathirdwayonewhichwillavoidboththedenialofsexualdifferencenominalismandanessentializingofsexualdifference*

426.Atwoodbygivingustheironyofthewomansculturebecometotalitariannightmarewhilesimultaneouslyleavingopenthepossibilityofalimitedessentialisminthewomencantadd*passageparticipatesinthisdiscussionbyofferingevidenceofthecomplexandironicmanneroflifescategory-crossing.Thenovelembodiestheconvergenceofpolarizedviewsintheambiguousimageofbloodimageofbothlifeanddeath.Themenstrualbloodofahandmaidishersignoffailureandultimatelyherdeath-warrantthoughitisalsothesignofhercontinuedfertility

95.Theredgownsofthehandmaidsarethecolorofthebloodoflifebuttheyarealsoshroudsandtherepeatedreferencestoflowersusuallyredinthenoveljointhisimageoffertilityandhopetowoundsandsuffering:OfiredenvisionsherhusbandLukeheldprisonertheresascarnoawounditisntyethealedthecoloroftulipsnearthestemenddowntheleftsideofhisfacewherethefleshsplitrecently**J

33.TheambiguityoftheimageofbloodisonenotedinAtwood*spoetrybyLornaIrvine:lookingattheAtwoodpoem“RedShirtthatcelebrateswomenIrvinesaysFinallymenstrualbloodandthebloodofbirtharesymbolsofunioninthisfemaleworld.InRedShirt/thepoetandhersisterheadsalmostjoinedastheybendovertheirworksewaredshirtforthepoetsdaughter.Takingfromthecolorreditsassociationswithangersacrificeanddeaththesisterspurifyit.offeringitasafemalebirth-righttojoinallwomentoeachother

105.22TireHandmaidsTalewithitsinsistentrefusaltoresolveambiguitiesretainsthepolarimagesofredandbloodthatthepoempurifies.Thenarrativeitselfenactstheambiguitysuggestedintheseimages.AtthefirstlevelwefindintheEpiloguethatthehistorianPieixotohasputtogetherthetextfromasetofscrambledtapes:thenovelisareconstruction.WithinthenovelitselfAtwoodgivesusOffredreconstructingthenovelspresentatsomefiituretimeinthesafehouseinMaineinsistingthroughoutontheimprecisionofthereconstruction.OffredlamentsherinabilitytotellitexactlyItsimpossibletosayathingexactlythewayitwas“173wishesfbralesspainflillessfragmentedtaletotell343-44complainsofherfadingmemory250andunreliabilityasanarrator41evengivestwoversionsofthebeginningofheraflairwithNickandthensaysthatneitherofthemistrue

340.InfactthenovelisinasecondsenseareconstructionofareconstructionamemoirofOffredsrebuildingofaselfallbutobliteratedbythepainofherexperienceandthenecessityofforgettinginordertosurvive.Shemustcreateorrecreateherselfafterhavingbeenerasedasaperson.WhenSerenaJoybrieflyshowsheraphotographofherlostdaughterOffredcannotbeartohavebeenerasedfromherchildsmemory:nlhavebeenobliteratedfbrher.Iamonlyashadownowfarbackbehindtheglibshinysurfaceofthisphotograph.Ashadowofashadowasdeadmothersbecome.Youcanseeitinhereyes.Iamnotthere*

296.AfterthisobliterationOffredrebuilds.recapturingherindividualitybyrecapturingherpastinhersolitaryrecitations.Sittinginherroommusingonthemultiplemeaningsoftheword“chair”thepreciousandpretentiousacademicintheHistoricalNoteswillreducethiswordspossibilitiestoasexistjokesherecoverstheambiguityofmeaningthattotalitarianregimestrytocontrol.ThesearethekindsoflitaniesIusetocomposemyself

140.Shecomposes-putstogethersetsdown-herselfasthenovelsflctivereconstructioncomposesthestoryofherstruggletodoso.Bothsensesofcompose1*arepresentearlierinthebook:M1wait.Icomposemyself.MyselfisathingImustnowcomposeasonecomposesaspeech.WhatImustpresentisamadethingnotsomethingborn

86.25Shecomposescreatesherselfinoppositiontothosewhowouldconstructhersociallyasanobjectawalkingwomb.womeninTheHandmaidsTale;connotative.reflectivespeechin/984isrestrictedandcontrolledasaninstrumentofpower;inTheHandmaidsTaleHarvarditselfbastionofreasoneddiscoursehasbecomethesiteoftortureandmutilationoftheregimesenemies.它们有很多相似之处，鉴于两位主人公所生活的极权主义政权，它们或许是不可避免的在这两种情况下，我们都有一种独特的现代噩梦成真的感觉，受害者最初瘫痪无力，无法行动矛盾的考虑到这种醒着的噩梦的情绪，两部小说都使用夜间的梦境和记忆闪现来重现难以捉摸的过去，通过它们的主人公试图恢复他们个人的人性但是，在像偷狱一样的社会里，个人的人性当然是不受欢迎的；就像卡夫卡笔下具有象征意义的流亡地一样，语言《使女的故事》中的女性书籍；内涵反思性话语在/984中作为权力工具受到限制和控制；在使女的故事里，哈佛本身理性话语的堡垒，已成为折磨和残害政权敌人的场所AsOceaniabothwasandwasnotthepostwarLondonofOrwellstimeGileadbothisandisnottheUnitedStatesweknow.SerenaJoytheCommanderswifebearsanironicresemblancetoPhyllisSchlaflytakingapublicpositionthatwomenshouldnottakepublicpositions.*Thisreferentialtopicalityexistsbecausebothauthorsenvisionthefuturebyextrapolatingfromtendenciesinthepresent:asBlakepointsoutaprophetisonewhotellsusthatifwekeepondoing.rywillbetheresult.Bothnovelsenvisionasocietyinwhichperpetualwarisusedasarationaleforinternalrepression.Theeasewithwhichtheauthoritiesin1984switchtheidentityoftheenemymakesitclearlongbeforeWinstonreadsGoldsteinsconfirmatoryanalysisthatthe“enemy”isapretext;theepiloguetoTheHandmaidsTalemakesexplicitthesecretagreementbetweenthesuperpowersthatenabledthemtoconcentrateonsubjugatingtheirownpeople

388.Botharcsocietiespurgedofdiversityandindividualitybasedonsexismracismandelitisminwhichprivaterelationshipsbetweenfriendsandloversbecome-orbecomeseenas-subversiveacts.0由于大洋洲曾经并且不是奥威尔时代的战后伦敦，吉利德既不是我们所知道的美国也不是美国指挥官的妻子塞丽娜-乔伊SerenaJoy与菲利斯・施莱芙PhyllisSchlafly具有讽刺性的相似之处公开表明女性不应担任公职这种引用的时事性之所以存在，是因为两位作者都通过从现在的倾向中推断来设想未来正如布莱克指出的那样，先知是一个告诉我们如果我们继续做.ry将是结果的人两部小说都设想了一个社会，在这个社会中，永久战争被用作内部镇压的理由在温斯顿读取戈尔茨坦的证实分析之前很久，当局/984改变敌人的身份就清楚地说明了“敌人”是一个借口;TheHandmaidsTale的结语明确了超级大国之间的秘密协议，使他们能够集中精力征服自己的人388基于性别歧视和种族主义，这两个社会都被清除了多样性和个性和精英主义，其中朋友和恋人之间的私人关系变得-或被视为颠覆行为“Atwoodgivesusallthehallmarksofatotalitariansocietysetforthin/984Hadomi209-17andoriginatedbyZamiatininWe:publicspectacleasmeansofcontrolthetwo-minutehateandHateWeekandtheSalvagingandPrayvaganza.Thefearofspiesandbetrayalareconstants:HandmaidspartwiththephraseUnderHisEye°justasOceaniansknewthatBigBrotherwaswatching.Lackofprivacyandconstantsurveillancearecommonfeatures;thustheeyeisacontinuingimageinTheHandmaidsTalefromthenameofthesecretpolicetothesymboltattooedonOffred*sankle.nThisthreatofbetrayal-WinstonsuspectsJuliaasOffreddoesNick-hasalreadybeguntodestroyOffredsrelationshipwithherhusbandLukebeforeheispresumablyshotwhiletheyaretryingtoescapetoCanada

232236.Despitethisthreatbothsocietieshave-orhaverumorsof^anundergroundresistancenetwork;attheopen-endedconclusionofAtwoodsnovelitisostensiblythisnetworkofwhichNickisamemberthatenablesOffredtoescapetothesafehouseinMainewhereshedictatesthetapesofwhichthenovelpurportstobeatranscription.阿特伍德为我们提供了/984Hadomi209-17中提出的极权主义社会的所有标志，由Zamiatin在We中发起作为控制手段的公共场景，两分钟的仇恨和仇恨周，以及抢救和祈祷的阴道对间谍和背叛的恐惧是常数女仆与“在他的眼睛下”这个短语相似，就像大洋洲人知道老大哥在看缺乏隐私和持续监控是常见的特征；因此，眼睛是“女仆的故事”中的一个持续形象，从秘密警察的名字到在Offred的脚踝上纹身的符号“这种背叛的威胁-温斯顿怀疑朱莉娅作为Offred做尼克-已经开始摧毁Offred与她的关系丈夫卢克在他们试图逃往加拿大之前大概被枪杀232236o尽管存在这种威胁，两个社会都有一或者有传言-地下抵抗网络;在阿特伍德小说的开放式结论中，它表面上是这个网络，其中Nick是其成员，使Offred能够逃到缅因州的安全屋，在那里她指出了这部小说声称是转录的录音带Inbothworkslossofidentityisancvcr-prcscntthreatthissubmersionoftheselfrepresentedbycolor-codeduniformsdenotingthestatusofthewearerwhetherInnerorOuterPartymemberorCommanderGuardianorHandmaid.Thedangerisreal:Offredattimesbecomessubsumedbyhercategoryandthinksofherselfaswe203andAtwoodusesthemotifofthedoublethroughoutthenoveltorepresentthisthreat.DescribinganotherHandmaidwalkingaway.Offredsays.ShcslikemyownreflectioninamirrorfromwhichIammovingaway59:also

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213.ThemotifofthedoubleisacontinuingoneinAtwoodsworkeasilyseen.forexampleinthetitlesoftwocollectionsofpoetry.DOI/hiePersephone1961andTiro-HeadedPoems1978:7hereitsuggeststhelossofindividualitythatisthetotalitarianregime*sgoal.在这两部作品中，失去身份是一种永远存在的威胁，这种自我的淹没由颜色编码的制服代表，表示穿着者的身份，无论是内部或外部党员还是指挥官，卫报或女仆危险是真实的有时候会被归类为她的类别，并认为自己是“我们”203阿特伍德在小说中使用双重主题来代表这种威胁描述另一个女仆走开Offred说“她就像我自己的反思一样在镜子里，我正在离开”59又25213o在阿特伍德的作品中，双重主题是一个持续的主题容易看到例如在两个诗集中的标题DOI/hiePersephone1961和Tiro-HeadedPoems19787在这里它表明了个人性的丧失，这是极权主义政权的目标WeneverknowOffredsrealnamenotonlybecauseheridentityissubsumedbyherstatusasHandmaidandsheisthereforeof^Fredhercommanderbutbecausethatnameisalinktoherpast.heruniqueindividualselfandhersocietydestroysthatpastaseffectively-thoughlesssystematically-asWinston*sdoes.TheHandmaidsrecitetheMarxistfromeachaccordingtoherability;toeachaccordingtohisneeds“havingbeentoldthatitisfromSt.PaulscripturalwarrantbeingthebasisofGilead*ssocialcode.WhatHandmaidforbiddenaccesstobookscanproveotherwise*OffredrealizesthatthenextgenerationofHandmaidswillbemoredocilebecausetheywillhavenomemoriesofotherpossibilitiestheircollectivepasthavingbeenrewrittenandtheirindividualpastsspentwithoutalternatives

151.TofbrgetapastofchoicesistobeenchainedinthepresentaprocessthatGayleGreenehasdescribedastheamnesiaimposedbywomensroles30I.!Asin/

984.memoryislinkedwithliberationathemeGreenefindspervasiveinfeministfiction.WilliamSteinhoffclarifiesthisthemein/984:*ifoneiscutofffromthepastasWinstonisinOceaniaifone*smemoryisnotsustainedbyobjectiveevidenceandifonehasnorecoursetohistorycanonestillpreservefromthedominationoftheenvironmentanypartofoneself

11179.我们永远不会知道Offreds的真名不仅因为她的身份被她的女性地位所包含因此她也是她的指挥官弗雷德但因为这个名字是她过去的链接她独特的个人自我，她的社会像温斯顿那样有效地摧毁过去管不那么系统化女仆们背诵马克思主义者”根据她的能力，根据他的需要，每个人”，被告知它来自圣保禄经文诫命是基列社会法典的基础什么女仆，禁止访问书籍“可以证明不是这样的吗？Offred意识到下一代女仆将更加温顺，因为“他们对其他可能性没有记忆”他们的集体过去被重写，他们的个人过去没有其他选择151过去的选择将被束缚在现在GayleGrccnc称之为“女性角色所强加的健忘症”30I！如同/

984.记忆与解放联系起来，Greene认为这是一个无处不在的主题女权主义小说中的威廉斯坦霍夫在/984中阐明了这个主题“如果温斯顿在大洋洲，如果一个人的记忆不能通过客观证据来维持，如果一个人无法求助于历史，那么保持从统治自己的任何一部分环境？“179TheepiloguetoTheHandmaidsTalepresentsafinalironicexampleofdehumanizationthroughfaultyremembering;itssatireontheacademicrhetoricalhabitofdistancingandthusobjectifyingitssubjectshowsOffrcdsstorytwohundredyearslaterasfodderforpedanticdiscussionsofthetaleshistoricitymissingthemeaningofOffrcdsindividualexperiencebycommittingthehistorianssinofviewingtheindividualonlyasanexampleofthelargermoreabstractpoint.TheEpiloguedemonstratesalsoAtwoodsconsciousnessofplayingoffOrwell.ShedrawsthedirectparallelinspeakingofthepointthattheEpilogueexistsinparttoshowthatinthisfuturetimethereignofGileadispast:Infact.Orwellismuchmoreoptimisticthanpeoplegivehimcreditfbr.Hedidthesamething.Hehasatextattheendof/

984.MostpeoplethinkthebookendswithanoteonNewspeakwhichiswritteninthepasttenseinstandardEnglish-whichmeansthatatthetimeofwritingthenoteNewspeakisathingofthepast*Hancock

284.《使女的故事》的结尾处是通过错误的记忆呈现出最后一个非人性化的讽刺例子;它讽刺了学术修辞习惯上的“疏远”从而“物化”，其主题展现了200年后的离奇故事为迂腐地讨论这个故事的历史性提供了素材由于犯了历史学家只把个人看作更大的例子的错误，奥弗雷德忽略了个人经历的意义更抽象、点结语部分也体现了阿特伍德玩弄奥威尔的意识她在谈到结语部分是为了说明这一点而存在的这一点时，提出了直接的类比在未来的时间里基列的王已经过去了奥威尔比人们认为的要乐观得多他也做了同样的事他在/984页末尾有一篇课文大多数人认为这本书的结尾是一个关于新话的注释这是用过去时态写的在标准英语中，这意味着在写这封信的时候，新话已经成为过去”汉考克284oTheassaultsontheindividualityoftheprotagonistsreinforceinboththedesperateneedtomakecontact;WinstonreachesouttoJuliaand.fatallytoOBrienastheHandmaidsagainsignificantlyatnightreachoutbetweentheircotsinthegymnasiumtotouchhandsandexchangenames.ThisneedtomakecontactwithothersleadsOffredspredecessortocarveoutthehiddenschoolyard-LatinmessageofhopesNolitetebastardescarborundorum:dontletthebastardsgrindyoudown.Thecontactitselfisawindowtoaworldoutsidetheprisonofone*sloneliness:Atwooddescribesitaslikemakingapeepholeacrackinthewall28-

29176.Theregimeworksinavarietyofwaystosevertheseties;loveisnotthepoint*saysHandmaidtrainerAuntLydia285awareofthesubversioninherentinprivaterelationships.ButloveisindeedthepointforOffredasitwasfbrWinston.ItisthroughOffredsaffairwithNickasthroughherfriendshipswithotherHandmaidsthatherrc-crcatcdselfdesiresandrebels.对主人公个性的攻击加强了迫切需要联系;温斯顿伸出朱莉娅和致命的OBrien作为女仆再次，明显，在晚上伸出他们在体育馆的婴儿床之间触摸手和交换名字这需要与其他人接触，导致Offreds的前任开辟出隐藏的校园-拉丁语的希望信息Nolitetobastardescarborundorum不要让那些混蛋惹你失望接触本身就是通往监狱之外的世界的窗口:阿特伍德将其描述为像制作窥视孔，墙壁上的裂缝28-29176o该政权以各种方式工作以切断这些联系；“爱情不是重点，”女仆教练丽迪娅285说，她意识到私人关系中固有的颠覆但爱情确实是Offred和Winston的关键所在正是通过Offred与尼克的绯闻，通过与其他女仆的友谊，她重新创造了自我欲望和叛逆者”？AstheexamplesindicatethecommonalitiesaremanyandifAtwoodweremerelyinjectingafemaleprotagonistintoOrwellsdystopiawccouldnodathermodernityandmoveon.ButitisnotmerelythatOffredisafemaleWinstonSmith.ForonethingtherearcdifferencesinstylethatamounttodifferencesinsubstanceandfbranotherthefeminismofTheHandmaidsTaleismoresubtleandcomplexthancanbeindicatedbymerelynotingthechangeintheprotagonisfsgender.如示例所示共同点很多，如果阿特伍德只是向奥威尔的反乌托邦注入女性主角，我们就可以对她的“现代性”点头并继续前进但是，Offred不仅仅是女性温斯顿史密斯一方面，风格上的差异相当于实质上的差异而另一个“女仆的故事”中的女性主义比仅仅注意到主人公性别的变化更为微妙和复杂WccanbegintounderstandthedifferencesandtheirthematicimplicationsifwcstartwithAtwoodsevocationofthetextureofdailylifemadepossiblebythechoicesshehasmadeinorderingherplot.AsMalakhasexplainedthestructureofthenarrativemovingasitdoesfrombriefmemoryglimpsesofOflredspasttoanincreasinglyfillerrenderingofthatpastprovidesacontrastbetweenthedrabbarrennessofherpresentandtherichtextureofherformerlife.ITheseshiftingreminiscencesofferglimpsesofalifethoughnotidealstilltilledwithenergycreativityhumanenessandasenseofselflioodalifethatsharplycontrastswiththealienation.slaveryandsufferingundertotalitarianismMalak

13.This*praiseof[our]present.*initsuntidysurfeitofchoicesAuntLydiadescribestheprerevolutionaryUnitedStatesasasocietydyingoftoomuchchoiceofTeringsecurityandstabilityinplaceofthattoo-demandingfreedomofactionsthoughtsreadingmatterevenpornographyandyesoficecreamflavors-rendersarealitymorevividandmoredearthanOrwellcanprovideinthegraygrittyworldofOceaniabecausehisprotagonistcannotrememberbackbeyondthegrayncss.Orwellmadetherisk-ladenchoiceofcreatingaprotagonistasdrabastheworldheinhabits;1:1Atwoodcreatingarichertextureofbothcharacterandsettinggivesusaprotagonistwhosememoriescelebratethevariegatedpast.OffredsclandestinegameofScrabblewithherCommanderevokesthesensualityofnow-fbrbiddentexturesandlanguage:Weplaytwogames.LarynxIspell.Valance.Quince.Zygote.Iholdtheglossycounterswiththesmoothedgesfingertheletters.Thefeelingisvoluptuous.Thisisfreedomaneyeblinkofit.Limp.Ispell.Gorge.Whataluxury.Thecountersarclikecandiesmadeofpeppermintcoollikethat.Humbugs.thosewerecalled.Iwouldliketoputthemintomymouth.Theywouldtastealsooflime.TheletterC.Crispslightlyacidonthetonguedelicious

（180）.如果我们从Atwood对日常生活质感的唤起开始，我们就可以开始理解这些差异及其主题含义，这可以通过她在订购她的情节时做出的选择来实现正如马拉克所解释的那样，叙事的结构，从简短的记忆中瞥见了奥弗雷德的过去，再到对过去的日益全面的渲染，提供了她现在的单调乏味与她前世的丰富质感之间的对比我这些变化的回忆提供了生活的一瞥，虽然不理想，仍然充满了能量创造力人性和自我感，与异化形成鲜明对比的生活奴隶制和极权主义下的痛苦”（马拉克13）这种赞美［我们］现在“在其不整齐的选择中过多（丽迪娅姨妈将革命前的美国描述为一个为太多选择而死的社会，提供安全和稳定代替那种过于苛刻的自由行动思想，阅读物质（甚至是色情），以及冰淇淋口味让奥斯威尔在灰色的坚韧世界中提供更加生动，更加珍贵的现实大洋洲，因为他的主角不记得已经超越了灰色奥威尔做出了冒险的选择，创造了一个像他居住的世界一样单调的主角；11阿特伍德，创造出更加富有个性和环境的质感，给我们一个主角他的记忆庆祝着五彩缤纷的过去.Offred与她的指挥官的秘密游戏Scrabble唤起了现在被禁止的纹理和语言的感性“我们玩两场比赛Larynx我拼写帷幔椁受精卵我拿着光滑的边缘光滑的计数器，手指字母这种感觉是性感的这是自由，是它的曙光跛行我拼写峡谷多么奢侈柜台就像糖果由薄荷制成，很酷Humbugso那些被称为我想把它们放进嘴里他们也会尝尝石灰字母C.酥脆，舌头上有酸，味道鲜美“

（180）ThisvividlyfeltrealityemergesalsointhesecondarycharactersindividuallyrenderedasOrwelTsarenot:Offredsmotherawomanonherownburnerofpornographyandmarchertotakebackthenightwhodesiredawomansculturemuchdifferentthantheonethathasironicallycometopass;theCommanderunknowingvictimofthesocietyhehashelpedtocreaterobbedofhischoicesintheprocessofrobbingothersoftheirs;Offredsscepticalirreverentflinny!friendMoiraglimpsedforthelasttimeascompanioninanillicitbrothel;eventhesillyanduntrustworthyfellow-handmaidJaninewallowinginherconfessionofherformersins

（93）.AndofcoursemostvividlyrenderedofallOffredherselffbnnerlyoblivioustothesignsofthecomingcatastrophe.undramaticallyheroicinitiallypassiveexceptinherrefusaltobecomeavictim15strugglingtoholdontohersanitybyrecitingchildishbanalitiestoherselfandlustingafterhandlotionemergingthroughherpainandlossasamultidimensionalcharacter.这生动地感觉到现实也出现在次要角色中，单独呈现为奥威尔不是罪恶的母亲一个女人，她自己，色情的燃烧者和游行者收回的夜晚谁想要一个“女人的文化”，而不是具有讽刺意味的那个人的文化呢？指挥官，他帮助创造的社会的不知情的受害者，在抢夺他们的其他人的过程中抢夺了他的选择；Offrcd的“持怀疑态度，不敬有趣”！朋友莫伊拉，最后一次瞥见作为非法妓院的“伴侣”；即使是愚蠢和不值得信任的同伴女仆珍妮沉溺于她对前罪的忏悔93当然，最生动地呈现了所有人，Offred自己，以前没有注意到即将到来的灾难的迹象除了拒绝成为受害者之外，最初是被动的英勇，最初是被动的，15通过背诵幼稚的平庸和追求洗手液来努力保持她的理智，通过她的痛苦和失落作为一个多维的角色出现ItisnotmerelythatAtwoodsskillinconveyingcharacterandtextureismoreacutethanOrwells-thoughthatissurelypartofit-noreventhathernarrativestructureallowshertorenderamoreparticularizedrealitythanhisdocs.EventherelativelyminorcharacterLydiaoneoftheAuntswhoseroleistoconditionthehandmaidstotheirnewlivestakesonadistinctivevoice;ModestyisinvisibilitysaidAuntLydia.Neverforgetit.Tobeseen-tobeseen-istobe-hervoicetrembled-penetrated.Whatyoumustbegirlsisimpenetrable.Shecalledusgirls”

38.Thisinsistenceonthetextureoffeltlifeandonthefullnessofminorcharactersisastylisticallyrichrenderingofacentraltheme.ThemostrevolutionaryfeministfictionissobyvirtueoftextualpracticeaswellascontentasGayleGrccnchasrecentlyputthispoint

292.Atwoodstextualpracticemirrorshernovelscontentassertingtheprimacyoftheindividualhumanspiritbyevokingitstylistically.InwhatinitiallyappearstobemerelyanotherinaseriesofrememberedconversationalfragmentstheCommandertellsOfiredthatWomencan*tadd;Forthemoneandoneandoneandonedon*tmakefour

240.Shethinksatfirsthesmakingthecustomarycondescendingpointaboutwomensmathematicalability:WhatdotheymakeIsaid.expectingfiveorthree;buthispointisinfactagreatifunintendedcomplimentwomencantaddoneandoneandoneandoneandgetfburbecausewhattheyalwaysgetisoneandoneandoneandone.asenseoftheirreduciblevalueoftheindividual.WomencannotthinkabstractlysaysthecommanderquotingLeninonmakingomelettes

273.Thepointofcourseisthattheeggsbrokentomaketheomelettearepeopleandwhetherwomendeservethecommanderscomplimentornot.Atwoodsfbcusisonthisaffirmationofindividualhumanuniquenessinthefaceofthosewhoarcabletodestroyitbecausetheycanabstractcanwillthemselvesnottoseetheindividuallife.Offredmuseslater:WhattheCommandersaidistrue.Oneandoneandoneandonedocsn*tequalfbur.Eachoneremainsuniquethereisnowayofjoiningthemtogether.Theycannotbeexchangedonefortheother

248.Orwelltoo.usesadditionthematicallywhenOBrienforcesWinstontoacknowledgethattwoplustwocanequalfiveifthePartysaysso.BoththeCommanderand0BrienusenumbersasexamplesoflogicalbecauseaprioritruthfundamentaltoreasoningandtheutilitariancalculusinvokedbythecontrollersofthemassdystopiansocietiesgoesbackatleastasfarasZamiatinsWell-DoerwhoarguesthatMEvenatthetimewhenhewasstillwildandhairymanknewthatrealalgebraiclovefbrhumanitymustinevitablybeinhumanandthattheinevitablemarkoftruthiscruelty

199.16But0Brienspointisthattrutheventheaprioritruthofmathematicsisrelativeandsubjecttotheviolence-enforcedwillofwhoeverisinpower.Atwoodspointisthatthetruthofhumanindividualityandonlythroughthisindividualityhumanconnectednessisabsoluteinviolable.RookerelatestwoimagestothispointoftheconnectednessofuniqueindividualsthechainandtheMaydaynetworkofundergroundsubvertersoftheregime

185.Offredremembershermotherinathrowbacktodomesticitylinkingsafetypinsinachain263:theUndergroundFemaleroadisahumanchain:eachoneofthemwasincontactwithonlyoneotheronealwaysthenextonealong**

320.Rookeseesthisrecognitionofthevalueoftheindividual-thatpoliticsandcharactergohandinhand-asHattheheartofAtwoodsaestheticandherpolitics.ItrequiresthereadertopositionherselfbothwithinandoutsideoftheActiveworld:anditsuggeststhatempathyandthelargerperspectivearenotopposed

185.Bytransformingstyleintosubstance.Atwoodhasextendedthereachofthedystopiangenresooftenpopulatedinthepastbyone-dimensionaldemonstrationsoftheanonymityofthetotalitarianstate.AbstractionsaboutgenderareamajorthreattoindividualityinOffredrssocietyasinours.Thenovelscharactersdebatethetheoryof^^essentialism^thenotionthatgenderdistinctionsdenotesomefundamentalandcrucialdifferencesbetweenhumanbeings.TheCommandersessentialismisevidentinhiswomencantaddpointandgenderabstractionsarceasilyvisibleelsewhereinthenovelaswhenthedoctorwhomOffredvisitsofferstoimpregnateherandthussaveherfromthedeathaccordedtounreproductiveHandmaids:nTCdonlytakeaminutehoney.Whathecalledhiswifeonce:maybestilldoesbutreallyitsagenericterm.Weareallhoney

79.Thisgenderabstractionisadoptedbybothsexesofcourse:AuntLydiareferstoallmenasthem:butNickcallsOffredbyherrealindividualnameasevidenceofhisgoodfaithinhelpingherescapeattheendofthenovel.不仅仅是阿特伍德传达角色和纹理的技巧比奥威尔更为敏锐-虽然这肯定是其中的一部分・甚至她的叙事结构也不能让她呈现出比他更具特色的现实即便是相对较小的人物丽迪雅其中一位阿姨的角色是将女士们的条件赋予他们的新生活，并发出独特的声音;“谦虚是隐形的，Lydia阿姨说永远不要忘记它要被人看到・要被人看见-她的声音会被震撼・穿透你必须是什么，女孩，是不可穿透的她叫我们女孩”38这种对毛毡生活质感和小角色丰满感的坚持是一种中心主题的风格丰富的渲染“最具革命性的女权主义小说是凭借文本实践和内容”，正如GayleGreene最近提出的那样292阿特伍德的文本实践反映了她的小说内容通过风格主义唤起个人人类精神的首要地位在一系列被记忆的会话片段中，最初似乎只是另一个，指挥官告诉Offred”女人不能添加”;“对他们来说，一，一，一不做四”240她一开始认为，他正在制定关于女性数学能力的习惯性居高临下的观点“他们做了什么？我说期待五到三个”;但他的观点实际上是一个伟大的，如果无意识的称赞女性不能添加一个和一个，一个和四个，因为他们总是得到的是一对一和一感觉到个人的不可减少的价值指挥官说，女性不能抽象地思考引用列宁制作煎蛋273当然，重点是打破“煎蛋”的鸡蛋是人，女性是否应该得到指挥官的称赞阿特伍德的重点在于对个人的独特性的肯定，面对那些能够摧毁它的人，因为他们可以抽象，他们自己也不会看到个人生活后来冥冥道“指挥官说的是真的一，一，不等于四每一个都是独一无二的，没有办法把它们连在一起它们不能交换，一个为另一个“

（248）奥威尔也是当奥布莱恩强迫温斯顿承认，如果党这么说，两个加两个可以等于五，那么主题使用Commander和UBrien都使用数字作为逻辑的例子，因为先验真理，推理的基础，以及大规模反乌托邦社会控制者所引用的功利主义微积分，至少可以追溯到ZamiatinsWell-Doer他认为“即使在他仍然狂野多毛的时候，人类也知道对人类的真正的，代数的爱必然是不人道的，真理的必然标记是残酷的“

（199）.16但是布莱恩的观点是真实的即使是数学的先验真理，也是相对的，并且受制于执政者的暴力执行意志阿特伍德的观点是，人类个性的真实性和（仅通过这种个性）人类的联系是绝对的，不可侵犯的罗克将这两个图像与独特个体链条和政权的地下颠覆者的五月天网络的连通性联系起来

（185）Offred记得她的母亲在一个“回归家庭”中，将链中的安全别针连接起来

（263）地下女性道路是一条人链“他们每个人只与另一个接触，总是下一个

（320）o罗克认为这种对个人价值的认识-政治和“性格”齐头并进■作为“阿特伍德审美和政治的核心它要求读者在虚构世界的内外定位自己它表明同情和更大的观点并不反对“

（185）通过将风格转化为实质阿特伍德扩大了反乌托邦类型的范围，过去常常通过一维示威表明极权主义国家的匿名性关于性别的抽象是对OflYed社会中个性的主要威胁，就像在我们的社会中一样这部小说的人物辩论了“本质主义”这一理论，即性别差异表明人类之间存在一些基本和重要的差异指挥官的本质主义在他的“女人无法补充一点中显而易见在小说的其他地方很容易看到和性别抽象，就像当Offce访问的医生提供给她的浸润，从而使她免于死于非生产性的女仆的死亡”只需要一分钟亲爱的”他称之为他的妻子的一次也许仍然如此，但实际上这是一个通用术语我们都是亲爱的“

（79）当然，这种性别抽象被男女两性采用Lydia姨妈将所有男人称为“他们”但尼克用她真实的个人名称称为Offred作为他在小说结尾帮助她逃脱的诚意的证据TheabsoluteoftheindividualdistinguishesTheHandmaidsTalcfromitsapparentanalogues.ItisoneofthefewabsolutesinthenovelfbrAtwoodgiveslittlecomforteithertothereligiousrightsdesirefbrareturntotraditionalvalues*1andagenderized。