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Progress in Social Sciences
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ISSN Online:2664-6951
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叠印的目光：论《大宅》中纳迪娅凝视下的他者与自我
The Overlapping Gaze: The other and the Self under Nadia’s Gaze in Great House
- Authors: 宋平
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Information:
杭州电子科技大学外国语学院，杭州
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Keywords:
Great House; Nicole Krauss; Jean-Paul Sartre; Gaze《大宅》; 妮可·克劳斯; 萨特; 凝视
- Abstract: In Nicole Krauss’ Great House, Nadia’s gaze is the superimposition of the male other’s image through the filter of memory and a projection of the self as well. From the perspective of Jean-Paul Sartre’s gaze theory, Nadia’s gaze never truly reaches Adam himself, instead, his figure is overlaid with the image of Daniel·Varsky, a poet who disappeared due to political persecution. By writing the male’s body, the hegemony of the male gaze in traditional narratives is also subverted. Meanwhile, the novel does not reduce female desire to the conquest narrative common in male-centered stories, but keeps it in an unfulfilled state all the time. Nadia’s gaze is also an extension of her self-projection, an attempt to resist aging and seek the confirmation of her self-worth. However, Adam’s disgust and rejection shatter her illusion, forcing her from the subject viewing to the gazed-upon object. Now Nadia has to face her true self and make a choice. The novel offers no definitive answer at its ending, revealing the true form of Sartre’s “situation extrême” in reality. Through analyzing Nadia’s gaze, this paper aims to offer a possible interpretive path for understanding the complex entanglements among gender, history, and existence. 妮可·克劳斯《大宅》中纳迪娅的凝视实践，是记忆滤镜下对男性他者形象的叠印，同时凝视背后也潜藏着自我的投射。从萨特的凝视视角看，首先，纳迪娅的目光从未真正抵达亚当本身，而是政治迫害失踪的诗人丹尼尔·瓦尔斯基的形象所叠印，并通过对男性身体的书写，颠覆了传统叙事中男性凝视的霸权。同时，书中并未让女性欲望沦为男性叙事中常见的征服叙事，而是被选择一直让欲望处于未完成的状态。纳迪娅的凝视亦是其自我投射的延伸，以期反抗衰老，寻求自我价值的确认。但是，当亚当的厌恶与拒绝撕裂幻象，迫使纳迪娅从凝视主体沦为被观看客体，纳迪娅被迫直面真实的自我。且小说结尾悬而未决的选择，揭示了萨特“极端处境”在现实中的真实形态。本文试图通过分析纳迪娅的凝视，为理解性别、历史与存在之间的复杂缠绕，提供一个可能的阐释路径。
- DOI: https://doi.org/10.35534/pss.0802017
- Cite: 宋平．叠印的目光：论《大宅》中纳迪娅凝视下的他者与自我［J］．社会科学进展，2026，8（2）：86-91.
