杜拉斯巜情人

导读：　杜拉斯巜情人篇一《杜拉斯《情人》》 ...

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杜拉斯巜情人篇一
《杜拉斯《情人》》

情人，如此多娇

【内容摘要】杜拉斯的《情人》是作者自己少年时代经历的叙述，小说深刻的展示了一个被生活所迫的而变得破碎不堪的家庭和他们破碎不堪的感情。在扭曲的家庭关系下，每个人的情感也备受折磨。无论是亲情还是爱情，杜拉斯都给我们迎头痛击。小说到处都充斥着冷漠，可是怀着冷漠的心去写故事的杜拉斯内心其实不平静，我们可以感受到她内心的矛盾。

【关键字】亲情 爱情 现实

杜拉斯的《情人》，是一篇让人读起来绝望的小说，为什么少女美好的初恋，温情的亲情在她的笔下变得肮脏，不可靠，充满着暴力，但是也是这种轻描淡写的暴力却震撼着人的内心。这种暴力有着吞噬人心灵的力量，在读了之后对爱情、生活都有了阴影。我想只有充满故事的人才能写出这样的有震撼力的文章，而这本来也是杜拉斯本人少年时一段经历的自传。正因为写于故事发生的几十年之后，所以情节是在现在与过去之间转换，而情感或多或少会受当下情绪的影响，这是“一部粘贴在一起的来自不停时间与空间的文字段落”①。我觉得《情人》有意味的地方不在于它写的是一个十几岁的少女情欲萌发进而发泄的故事，它的意味在于一位饱经沧桑的的中年女人，用几十年的人生经历再去审视这段恋情，并且把它展现在世人的面前。

爱与恨的挣扎，情与欲的纠葛，在湄公河的堤岸上上演着。在扭曲的殖民社会下，使得小姑娘的家庭备受折磨。在扭曲的家庭关系下，每个人的情感也备受折磨。在和情感扭曲的女孩的恋爱中，情人也备受折磨。就这样大家相互折磨彼此也相互发泄情感。女孩的母亲和父亲远去他乡，却在越南过着穷困的日子。母亲渴望过上富裕的生活，却遭遇丈夫的去世。她满怀希望的买了一块土地，却被贪官所欺骗，几经抗争却毫无结果。于是她把心里的怨气发泄在了小姑娘和小哥哥的身上。其实小姑娘的母亲不是不爱她和小哥哥，而是生活已经将她心中的爱消磨的所剩无几，她只能把无能为力的母爱给与大哥。对于小妹和小哥哥，她已经无力再去付出她可怜的母爱。可是她也没想到，她这样的偏心给小妹的心理带来了不可磨灭的伤。小妹嫉妒没出息的大哥所得到的爱，因此使小妹对大哥本来就有的恨加深了。而在我看来，小妹的越轨行为，也是对母亲的一种对抗。既然你在意不我，那我就以我自己的方式来让你失去我。这种心理在小说中也有体现：

从今以后，家里人再也不应该过问她可能遭遇的一切。就让人们从 他们手里把她抢走，伤害她，糟蹋她，所有这些他们都再也不应该知道。 论是妈妈还是哥哥，他们全都不应该知道。从此以后，这将是他们的命 运。这念头已经足够使他在这辆黑色的里摩辛轿车里伤心落泪。②

这段话可以看出杜拉斯心中的怨气，她这么说其实恰恰表现出她渴望家人的关心和爱护。她想通过伤害自己而去变相的伤害家人，所以也使她形成了故意去伤害亲密的人从而感受对方给自己的爱的心理。其实我们周围也不乏这样的人，面对自己所爱的人，她就是要故意的伤害，而且表现出不在乎。而这样的人其实是因为没有安全感，她害怕自己的真心得不到真心的对待，所以她干脆就摆出一副不在乎的样子。小姑娘对母亲如此，对情人也如此。她想用一个女儿的情感去对她的母亲，却得不到母亲像一个妈妈的爱。所以她就把自己封闭起来，并在书中表

达着对母爱和亲情的不在乎。她也想用一个女人的情感去对情人，可是也怕这位“风月场上的老手”践踏她的真情。所以她对他说：爱他，也爱他的钱。这是一个少女的叛逆，少女的不成熟。所以小姑娘和中国情人之间的情，我并不觉得这是一种金钱和肉体的交换，而是情欲和报复的碰撞。当然钱肯定会是其中的原因，但并不是主要的。杜拉斯还有两个哥哥，大哥沉溺于吸毒、赌博，在外面受了气，就以小哥哥和小姑娘为他发泄的对象。他恶毒的对待小姑娘和小哥哥，也肆意的挥霍母亲对他的溺爱，他想尽办法的折磨着家人，因此小杜拉斯就越恨他。她恨不得杀掉他，可是这种恨却不仅仅来自于哥哥的本身。母亲的偏爱使得小小的她产生了深深地嫉妒，因此那种嫉妒让我们看到了一个充满着仇恨的小妹。

在读小说的时候，感到里面的人无一不是悲哀的，他们的人生都不完整，他们都忍受着生活的痛苦。着其实也就是生活的现实，从一个女作家的书里读这种现实真的很让人发毛。尤其是当知道了这是作家自己的故事叙述，就一直怀着一种忐忑的心情来读。那种忐忑好像是在窥探别人的隐私，想从中知道点什么，又害怕看到赤裸裸的现实。我想，之所以会有这种感觉就是因为作者写的实在是很现实，她揭开了美好的东西的皮，让我们看到了里面只不过是生满蛆虫的肉。

小姑娘和她的家人之间的情感表现在书中是变形的，但是放在生活里来考量，却也可能发生在任何人的身上。小姑娘对妈妈的又爱又恨，对大哥的恨之入骨，对小哥哥的似乎超越了兄妹之情的爱。这些情感和平常人家的爱似乎不同，这种关系在任何一个正常的人看来都是一种冷漠的亲情。可是怀着冷漠的心去写故事的杜拉斯内心其实不平静。但是我们可以感受到她内心的矛盾。

杜拉斯的《情人》有很多深层的意义，每个人解读的意义不同、深浅不同，感受也会不同。然而无论怎么理解，都让我们对那个神秘而风情万种的杜拉斯产生着极大地兴趣。我们努力的去探寻那位，有着故事的女人笔下的故事，并不断地把故事中的人和杜拉斯本人相结合。尽管她一再的告诉读者不要把这些混为一谈。但是读者还是乐此不疲，因为我们有理由相信这是真的。可是最后我发现，对杜拉斯本人你的好奇冲淡了我对小说的理解。我无法将注意力集中到故事的本身。而当我在看了杜拉斯本人的一些生平之后，我更是无法下笔去写我读到的故事。但是我想这不是杜拉斯本人的自传，那它也许会失色一些。

【参考书目】

①《玛格丽特·杜拉斯研究》.户思社著.上海：复旦大学出版社.

②《情人》.[法]玛格丽特·杜拉斯.戴明沛 译.北京：北京出版社

杜拉斯巜情人篇二
《模板.杜拉斯与她的《情人》》

杜拉斯巜情人篇三
《杜拉斯《情人》》

bride新娘； groom新郎； groomsmen 伴郎； bridesmaids伴娘； marriage witness证婚人； emcee/officiator司仪；guests来宾； photographer摄影师； priest牧师； flower girl持花少女；ring bearer男花童； caterer承办酒席者；杜拉斯的《情人》有个无人不知的开头，一个男子从大厅另一头走来，对我说：比起您年轻时候的面容，我更喜欢您现在备受摧残的脸。一个垂垂老妇与一个青壮年的男人，这画面何等荡气回肠，以至于被全世界女文青奉为圭臬。试着想一下，如果这个开头换做一个老妇在大厅长椅上自言自语：“我年轻的时候还不错，但现在老了更美。”读者大概只会感慨：嗯，这个老太太心态倒还蛮好的。

杜拉斯巜情人篇四
《杜拉斯的情人(英文_)》

THE LOVER

Part I

ONE DAY, I was already old, in

the entrance of a public place a man came up to me. He introduced himself and said:'I've known you for years. Everyone says you were beautiful when you were young,

but I want to tell you I think you're more beautiful now than then. Rather than your face as a young woman, I perfer your face as it is now. Ravaged.'

I often think of the image only I can see now, and of which I've never spoken. It's always there, in the same silence, amazing. It's the only image of myself I like, the only one in which I recognize myself, in which I delight.

Very early in my life it was too late. It was already too late when I was eighteen. Between eighteenand twenty-five my face took off in a new direction. I grew old at eighteen. I don't know if it's the same for everyone. I've never asked. But I believe

I've heard of the way time can suddenly accelerate on people when they're going through even the most youthful and highly esteemed stages of life. My ageing was very sudden. I saw it spread overmy features one by one, changing the relationship

between them, making the eyes larger, the expression sadder, the mouth more final, leaving great creases in the forehead. But instead of being

dismayed I watched this process with the same sort of interest i might have taken in the reading of abook. And I knew I was right, that one day it would slow down and take its normal course. The people who knew me at seventeen, when I went to France, were surprised when they saw me againtwo years later, at nineteen. And I've kept it ever

since, the new face I had then. It has been my face. It's got older still, of course, but less, comparatively, than it would otherwise have done. It's scored with deep, dry wrinkles, the skin is cracked. But my face hasn't collapsed, as some with fine features have done. It's kept the same contours, but its substance has been laid waste. I have a face laid waste.

THE LOVER

Part II

So, I'm fifteen and a half. It's on a ferry crossing the Mekong river. The image lasts all the way across. I'm fifteen and a half, there are no seasons in that part of the world, we have just one season, hot, monotonous, we're in the long hot girdle of the earth, with no spring, no renewal.

I'm at a state boarding school in Saigon. I eat and

sleep there, but I go to classes at the French high

school. My mother's a teacher and wants her girl

to have a secondary education. 'You have to go to

high school.' What was enough for her is not

enough for her daughter. High school and then a

good degree in mathematics. That was what had

been dinned into me ever since I started school. It

never crossed my mind I might escape the mathe-

matics degree, I was glad to give her that hope.

Every day I saw her planning her own and her

children's future. There came a time when she

couldn't plan anything very grand for her sons

any more, so she planned other futures, makeshift

ones, but they too served their purpose, they

blocked in the time that lay ahead. I remember my

younger brother's courses in book-keeping. From

the Universal Correspondence School - every

year, every level. You have to catch up, my mother

used to say. It would last for three days, never four.

Never. We'd drop the Universal School whenever

my mother was posted to another place. And begin

again in the next. My mother kept it up for ten

years. It wasn't any good. My younger brother

became an accountant's clerk in Saigon. There was

no technical school in colonies; we owed my

elder brother's departure for France to that. He

stayed in France for several years to study at the

technical school. But he didn't keep it up. My

mother must have known. But she had no choice,

he had to be got away from the other two children.

For several years he was no longer part of the

family. It was while he was away that my mother

bought the land, the concession. A terrible business,

but for us, the children who were left, not so ter-

rible as the presence of the killer who would have been,

the child-killer of the night, of the night of the

hunter.

The Lover-Duras

The Lover (French title: L'Amant) is an autobiographical novel by Marguerite Duras, published in 1984 by Les Éditions de Minuit. It has been translated to 43 languages. It was awarded the 1984 Prix Goncourt. The Lover is also a 1992 movie based on this novel, directed by Jean-Jacques Annaud and starring Jane March and Tony Leung Ka Fai. The cast also included Lisa Faulkner. The film was nominated for the Academy Award for Best Cinematography.

Summary of the movie

Set against the backdrop of French colonial Vietnam, The Lover reveals the intimacies and intricacies of a clandestine romance between a pubescent girl (Jane March), from a financially strapped French family and an older, wealthy Chinese man (Tony Leung Ka-Fai). The story is narrated by Jeanne Moreau, portraying a writer looking back on her youth. In 1929, a 15 year old nameless girl is traveling by ferry across the Mekong Delta, returning from a holiday at her family home in the village of Sadec, to her boarding school in Saigon. She attracts the attention of a 32 year old son of a Chinese business magnate, a young man of wealth and heir to a tidy fortune. He strikes up a conversation with the girl; she accepts a ride back to town in his chauffeured limousine. Compelled by the circumstances of her upbringing, this girl, the daughter of a bankrupt, manic-depressive widow, is newly awakened to the impending and all-too-real task of making her way alone in the world. Thus, she becomes his lover, until he bows to the disapproval of his father and breaks off the affair. For her lover, there is no question of the depth and sincerity of his love, but it isn't until much later that the girl acknowledges to herself her true feelings. Duras' real-life Chinese lover was named Lee. The last she heard of him, he became a born again Christian and loved his family very much. He died and was buried in the same city in Vietnam where Duras first met him. Duras was only 15 at the time of her love affair, which is the age of the heroine in the novel.

Marguerite Donnadieu, better known as Marguerite Duras (French IPA: [maʀgə'ʀit dy'ʀas]) (April 4, 1914 – March 3, 1996) was a French writer and film director. She was born in Saigon, French Indochina (now Vietnam), her father died,her mother raised her with her two brother , they were very poor,the mother went practicly mad, she ( the mother) use to beat her children and even made marguerite a sort of prostitute.when she got 18 she went to France, her parents' native country, to study law, but became a writer instead. She changed her name in 1943 for Duras, the name of a village in the Lot-et-Garonne département, where her father's house was located. She is the author of a great many novels, plays, films and short narratives, including her best-selling, ostensibly autobiographical work L'Amant (1984), translated into English as The Lover. Following the making of a film of the same name(s) (1992, L'Amant, The Lover) based on her work, Duras then published a slightly different work, L'Amant de la Chine du Nord. Other major works include Moderato Cantabile, also made into a film of the same name, Le Ravissement de Lol V. Stein, and her film India Song. She was also the screenwriter of the 1959 French film Hiroshima mon amour, which was directed by Alain Resnais. Duras's early novels were fairly conventional in form (their 'romanticism' was criticised by fellow writer Raymond Queneau); however, with Moderato

Cantabile she became more experimental, paring down her texts to give ever-increasing importance to what was not said. She was associated with the Nouveau roman French literary movement. Her films are also experimental in form, most eschewing synch sound, using voice over to allude to, rather than tell, a story over images whose relation to what is said may be more-or-less tangential. She died at 81 from throat cancer and is interred in the Cimetière du Montparnasse.

In The Lover and The North China Lover, Marguerite Duras writes about first love. Both novels are autobiographical, reflecting Duras’ adolescent experience in the then French colony of Vietnam where she was born in 1914. Her father died in 1918, leaving her mother, a teacher occupying one of the lowliest positions in the colonial hierarchy, to tend for Duras and her two brothers.

Both of these novels paint a poignant picture of Duras’ miserable upbringing. Her family was pitted into dire poverty after her mother was lured by the corrupt colonial administration into putting all her savings into the purchase of a worthless plot of land, subject to flooding by the sea. ‘It’s here we are at the heart of our common fate, the fact that all three of us are our mother’s children, the children of a candid creature murdered by society’, Duras writes, ‘We’re on the side of the society which has reduced her to despair. Because of what’s been done to our mother, so amiable, so trusting, we hate life, we hate ourselves’. Feelings of shame and anger towards one another and the outside world, enveloped in the fear of not having enough to survive on economically, thereafter tarnished the lives of Duras and her siblings.

It is within this context that ‘the girl’, i.e. Duras herself at age fifteen and a half, lounging on the ferry crossing the Mekong river, ‘wearing a man’s flat brimmed hat, a brownish-pink fedora with a black ribbon’, attracts the interest of the very elegant rich Chinese man inside the big black limousine. ‘... how important it was to be in my life, that event, the crossing of the river’, she relates. The sudden attraction is mutually shared and they instantly become lovers. ‘He’s a man who must make love a lot’, Duras reveals, ‘I’m very lucky, obviously, it’s as if it were his profession, as if unwittingly he knew exactly what to do and what to say’. Day in day out, his formidable chauffeur diligently comes to fetch her from the boarding school. But the love story that develops is much more complex than what one might guess to be an older man’s fetishistic attraction for a ‘little white girl’ or an ‘impoverished white lay-about’s scheme to exploit a Chinese millionaire. His bachelor’s quarters not only represent the locus of their boundless intimacy but also a safe haven which enables them to escape from their respective predicaments.

In The Lover, Duras’ Goncourt Prize (the Goncourt is the best-known French literary award) novel, one senses a strain of resentment in the author’s tone. It is as if she is telling the love story (her love story) without really wanting to, as though she felt compelled to write as an attempt to stop this experience from recurring in her mind. ‘I often think of the image only I can see now, and of which I’ve never spoken’, Duras relates at the outset, ‘It’s always there, in the same silence, amazing. It’s the only image of myself I like, the only one in which I recognize myself, in which I delight’. But she holds back from delving into the emotional breadth of their love story, choosing instead to depict it in a minimalist way: ‘Because of his ignorance she suddenly knows: she was attracted to him already on the ferry. She was attracted to him. It depended on her alone’.

In this novel, Duras tends to defy her emotions ‘it’s taken for granted I don’t love him, that I’m with

him for the money, that I can’t love him’, she asserts, ‘it’s impossible, that he could take any sort of treatment from me and still go on living. This is because he’s a Chinese, because he’s not a white man’. When he takes her famished family out to dinner, for example, they all behave as though they have granted him a favour in accepting his invitation and treat him as though he were an inferior person, showing contempt for his envied wealth.

In The Lover, Duras resists from overtly acknowledging the strength of her great love. She abstains from revealing her emotions to her lover and sharing them with her readers. When, in tremendous desperation, he confronts her about the impossibility of their love as being against the marital arrangements set out for him by his family, she resists coming to grips with the grievous situation and simply says to him that ‘I agreed with his father. That I refused to stay with him. I didn’t give any reasons’. In this version ‘the girl’ tastes and lives out the fruits of first love while tacitly accepting its annihilation. But at the end, as she bids farewell to the big black limousine majestically ‘gazing’ at her (with the lover inside) on the steam boat departing for France, she realizes how much she has withheld: ‘She’d wept without letting anyone see her tears, because he was Chinese and one oughtn’t weep for that kind of lover’.

And it is with the realization that The Lover simply scraped the surface of things that Duras resolved to do justice to the true colours of their love story in The North China Lover. Upon discovery of his death, Duras explains in the prelude ‘I stopped the work I was doing. I wrote the story of the North China lover and the child: it wasn’t quite there in The Lover, I hadn’t given them enough time. This book is a novel containing many features of a screenplay, such as the meticulous visual descriptions of possible settings, since Duras hoped that it would ultimately be recaptured on film (which it was in 1992 by director Jean Jacques Annaud).

Still written in her typical disjointed style (for this is not an author for smooth transitions), in this version Duras handles their love story with great care and tenderness. Instead of objectifying her protagonists as ‘the girl’ and ‘the Chinese man’, Duras calls them ‘the child’ and ‘the North China lover’, identities that inevitably suggest the youth and innocence, the care and protectiveness enveloped in their intimacy. She comes to grips with her sorrow throughout the course of the novel and takes great pains to transcribe into words an ecstasy of love reduced to the harsh process of separation.

The North China Lover effusively articulates the emotional breadth of ‘the wild happiness of first love and the unrelieved, incurable pain of having lost it’. Realizing that ‘the two are merged in the pain of love’, the child ‘talks to him, she tells him she will always love him. She thinks she will love him all her life. It will be the same for him too. They have both ruined themselves forever’. It is no surprise, then, that at the moment of her departure, the child already mourns the sense of lifelong loss, ‘the strange tragedy of betraying the destiny they realize was theirs’. And when he does telephone her years later, this time she is brave enough to include her own reaction: ‘He heard her crying on the telephone. And then from further off, probably from her room — she hadn’t hung up — he could still hear her crying’.

Both of these novels are essential works of contemporary French literature; neither is necessarily ‘better’ or ‘more finished’ than the other and together they form a masterpiece. The first lays out the

杜拉斯巜情人篇五
《情人~杜拉斯》

杜拉斯《情人》：妓女的躯壳，作家的灵魂 金玲珑 2008-01-12 15:27:17

做爱的时候，他说：你以后会记得这个下午。即使你忘记了我的长相，我的名字。

一位30岁男子，耐心地为15岁半的情人细细擦洗双腿之间流下的体液，含混着处女血。这个场景在脑海中久久挥之不去，渐渐酝酿，扩张，成为一场缤纷艳丽开到荼蘼的情欲传奇。

杜拉斯以自传为蓝本写就的《情人》，若除去这个故事标题“LOVER”的华丽标签，实质上讲述的是一名正值青春叛逆期的不良少女，与一位身体羸弱意志残疾的纨绔子弟之间的利欲纠缠。

下此定义，并非我对杜拉斯不敬。我是如此深爱这个女人，这个所有的文学作品都是自己一生风流韵事再现的女人。她对情欲的渴求，言之凿凿，坦白至令男人汗颜。但同时又是她，用充满尊严的文字，掩盖了自己毫不检点而有失尊严的私生活。我们看见的是一位尊严、睿智、沧桑、自残，充满苦难却从未被击垮的坚强女性，她以她高品位的文学创造力，最终在法国乃至世界文学史上赢得了一个崇高而令众生敬仰的地位。

杜拉斯的文学魔力，与她毕生都用于创造和感受与性爱有关的事件脱不了干系。大量的露水情缘源源不绝为她提供了创作的灵感和素材。她曾多次公开地与两个男人同时生活。即便如此，也决不错过跟除固定情人以外的男人偷情的机会。她也曾结婚又离婚，非婚生子，一辈子都陷入不断寻找非道德状态下可以给她以生活和写作激情的男人，她曾为纳粹组织工作的历史成为人们对其道德非议的瑕疵，被开除共产党籍后仍以共产党人自居……

从杜拉斯惊世骇俗的名言，或许可以看出她的立场：一个女人若一辈子只和一个男人做爱，那是因为她不喜欢做爱。以及：对付男人的方法是必须非常非常爱他们，否则他们会变得令人难以忍受。我爱男人，我只爱男人。我可以一次有50个男人。

她更是创造了一种神秘的、宿命的杜拉斯式的句式，令人着迷：在我酗酒以前，我就有了一副酗酒的面孔。

她更曾用一句话将我俘虏至今：我的一生，都在和异于常人的感觉做斗争。

那么，便不难理解我深爱的这个女人毕生的痛苦了。因此，也就理解了《情人》中那个一心想将自己的身体以妓女卖淫方式出卖的白种女孩的焦灼、饥渴、绝望、以及自甘堕落的复杂心理。

文学是从抒写自我的痛苦开始。每颗渴望倾诉的心灵，一定有着关于爱和恨的沉重足音。作家若没有内心深层次的痛苦，而是把玩一种轻飘飘的文字游戏，那么他（她）就不是真正的作家，更永远不会有问鼎人心的力作出现。

杜拉斯的内心情欲世界是一条奔流不息的河流，永不枯竭。酗酒，纵欲，她的自残来自于一种与生俱来的毁灭感。而这种毁灭感源于她的家庭。在她开始用一种荒诞不经的性爱活动和酒精

麻醉作为生活方式以前，她生存的世界已被重重天灾人祸毁灭。她的精神家园，意味着对生活的热情和对亲情的信心，都不复存在。带给她这种颠覆性灾难的，从她的作品中可以看出来，是她的母亲，和当时特殊的殖民背景下，她母亲的霉运给这个家庭造成的所有不幸、困窘、贫穷，以及无休止争吵。杜拉斯一生对于情欲的饥渴，在那个缺乏爱的环境中已经初具雏形。

我很庆幸写出《情人》这个故事的是年届70的杜拉斯，而不是当时仅仅15岁半的对于写作充满向往的小姑娘。我深信在杜拉斯年轻时，未必能够拥有如此深情表达悲剧的力量。时间可以打磨掉人心中一切极端化的情绪。就像中国作家池莉曾说，成熟都是熬出来的，熬至滴水成冰。70岁已然白发苍苍的杜拉斯饱含深邃的激情，以诗歌般的语言，挖掘出半个多世纪前一段尘封往事。我们感觉到了红颜白首的惨痛，而杜拉斯却以爱为名将男女主人公高调亮相，使得那些关于殖民地家族创业失败的灰暗背景、对母亲与兄弟间龌龊纷争的挚爱与至恨，青春的幻灭、摧残与渴求……统统归于幕后。只有杜拉斯笔下的那个孱弱不堪的中国情人，仿佛幽深隧道中惟一的光，穿越时空而来。

在这篇文章开篇之初，我就否定了这场湄公河上的相遇是因为爱情。至少在最初，故事的男女主人公之间，只是一场各取所需的欲望交锋。不能责怪杜拉斯美化一场卖身与嫖妓的关系。岁月让她记得的是对方所有的好，那些伤害的棱角，反而已经在心中被悄然抚平。

15岁半的杜拉斯，穿着旧的丝质连身裙和镶嵌廉价亮片与污泥、尖头严重磨损的高跟鞋，湄公河上的风微微吹开她脖颈下敞着的领，她尚未成形的幼小的乳尖，在轻薄衣衫后若隐若现。涂着口红微微翘起的风情的唇，却有着放肆而淫乱的眼神……这是怎样一个招风引蝶的时刻，注定有人要将她的情欲释放。不是他，也会有别的人。而他刚好赶上——从老式汽车中走出的他，微黄的手指将烟盒递给翘起一只脚放在栏杆上卖弄风情的她。此刻，他竟因内心横生的欲望而颤抖不已。

她的得意自不言说。他对她直言不讳道：你这么美，是可以为所欲为的。

在他送她前往教会学校的路上，他的手，已然放肆地在她双腿之间为所欲为。她的眼神，瞟过他的汽车，和他手指上巨大的黄金戒指，那些困扰她已久、因贫穷而生的羞耻和焦灼感，当这个男人带着他沉甸甸的财富出现在她面前时，全部烟消云散了。她知道她可以为所欲为。留在他车窗上的唇印，比任何的肢体诱惑更加剧烈，引爆了双方最后一丝因陌生而起的矜持。

在教会学校宿舍，她惟一的白种女友对她说，宁可卖身，也不去照顾麻风病人，她抚摸着她的裸身，艳羡道：那些男人可有福了。终于，她跟着他来到他富丽堂皇的屋，说：对我做你对其他女人所做的事。溽热幽暗的房间，百叶窗的光影隐隐绰绰。一墙之隔是当时混乱而喧嚣的闹市。他们仿佛与世隔绝的亚当夏娃。氤氲浓烈而不知羞耻的情欲气息。在那一刻，感觉到的只有欲望，来自性的蠢动，滋长，蔓延，像密密麻麻的虫子，将人心咬噬得七零八落，将人性的污点遮盖得密不透风。

或许是出于一种思想观念上根深蒂固的种族歧视，杜拉斯在文字中有意反复强调了她的中国情人的弱，无论是身体的，还是精神上的。看见她清洁幼齿的15岁半的胴体，这块从未开发过的处女地，竟让他在某种道德的挣扎和欲望的耸动之间落下泪来。那是个被长期声色犬马的生活掏空了身体的中国男人。他对她，伊始赤裸裸的只有欲望层出不穷。做爱的欲，证明自己这样一个黄种男人可以将白种女孩占有的欲，使得他在做爱进行的过程中，那样不遗余力，带着一种几

乎可以用滑稽来形容的郑重其事。

杜拉斯将这段邂逅定为“年轻白人女孩失去童贞”。在观影过程中，扮演那个中国情人的梁家辉确实逼真地展现了这样一场深沉、压抑、扭曲到让人透不过气来的性事。可是我始终感觉到杜拉斯对于被她诱惑和征服的中国情人，有着那样一种高高在上的优越感。来自于种族、以及年龄。

心是高高在上的，而身体在下。从她打量她的情人的眼神中，至少我可以确定一点，她没有爱上他。这时还没有。这场做爱完全出于利欲和性欲的一拍即合，没有丝毫崇高可言。或许，甚至不能叫做做爱，只是一场性活动，帮助她从生存的桎梏中解脱出来。一个一无所有的青春期叛逆女孩，能够向社会张扬这份叛逆的，除了肉体的胡作非为，没有其他的力量。当时的杜拉斯还未长成文学大师，更不知自己在文字方面的天赋异禀。否则，也许她会有比轻易打发掉处女身以外更好的选择。

他同样有着心理优越感，因为他的财富，和已经侵占了这位白种少女的既成事实。在高档餐厅里，烛光晚餐进行中，他居高临下地笑着宣布，我不能娶你，因为你已经不是处女了。

她边抓紧时间狼吞虎咽边同样笑着回答，那太好了，反正我不喜欢中国人。

你看见了爱的气息吗？我只看见了一对性别不同对阵擂台的兽类动物，分别展示着各自的心理优越，自我膨胀，彼此需要的同时又在无情地打压着对方。她带来了她的家人，她要用他的财富战胜亲人带给她的贫穷和猜忌的耻辱，向他们炫耀她富有的情人——即使他是黄皮肤的中国人。当他抽出几张大钞结帐时，她的家人们眼神中令人胆寒的敬畏和向往，再次确立了金钱对于她和她这个家族的重要性，稀缺性。她的心理优越感被刺伤了，于是她加倍亲昵地搂着自己的亲弟弟跳辣舞，胯部在弟弟双腿间放荡地扭动，肆无忌惮展示着自己性的魅力。这个举动是为了令他明白他在她内心中的位置，其实多么微不足道。

在他们做爱的老地方，他给了她一记耳光，将她内裤扯下，用性来发泄并警示她——她依附于他。她在被类似于强暴之后，还能够面不改色地问他：你觉得我值多少钱？他把钱丢给了她。在光线被门板上的横格切得横七竖八的夜，他对她说，跟着我说，你来找我，是为了钱。

她说，我来找你，是为了钱。

在这触目惊心的真相面前，他自嘲地笑了。他的笑意第一次有痛苦浮现。也许就在这个时刻，他对她，有了超出性欲以外的需求。占领了她的肉体，却统治不了她的灵魂。对于他来说又是怎样难言的失败。男人总是在关注女人的肉体时自欺欺人是关注她的灵魂，而当她的肉体得手之后，他又会贪婪得想要将对方的思想一探究竟。

她爱上他的钱而非他本人并不是她的错。就像他不能娶她而是服从包办婚姻一样。她混迹在看热闹的人群中看他珠光宝气的新娘子，眼神麻木不仁，继续着爱欲和游离。她还没有拥有一颗成熟到可以感知爱情的心灵。爱情需要比较，不同的个体、不同的环境，放在一起比较。所以后来让我们确定这份爱情的是70岁时已经历尽情海的杜拉斯，而非15岁半青春逼人的她。反而是他，有着被刺痛的真——结婚前夜，他绝望而又心存一丝侥幸地深深探进她空洞的眼，呢喃道，你不爱我。她的默认给予了他肯定的答复。

他们是这样贫穷而饥荒的一对，她是真正意义上的贫穷和卑微，自尊心的麻木、真爱能力的匮乏，另一个是贫穷到只剩下金钱，连恋爱和婚配自由也没有的他。

他说，噢，你真是个天生的婊子。她竟微笑。随即，一滴阵痛的泪珠从他抽搐的面颊落下。

在他的资助下，她回国了。前往法国的渡轮在印度洋的星空下漂浮，肖邦的钢琴曲从热闹非凡的大厅流溢而出。此时此刻，他对她的所有恩惠和深情，像上帝的福泽一般浮现，感召她，融化她，碾碎她，摧毁她。她就像后知后觉般，欲突然消泯，爱突然觉醒。她为了和他的这场生离死别失声痛哭。

直到这时，男女主人公才彻底完成了这场从性欲跋涉至爱情的路。15岁半的杜拉斯，也在这一刻剥开利欲情欲的茧，找回了真正属于那个年纪的自己。她的眼泪，就是这场爱情显现的最好证明。

或许爱情，当日并不存在，只因为有了回忆的浓妆艳抹，爱才以情窦初开的美丽面目示人。

以杜拉斯的一句名言作为结尾：如果我不是个作家，一定是个妓女。

感谢杜拉斯。感谢你的痛苦。感谢岁月已经让我已经学会了爱你而不是迷恋你，你曾说迷恋是一种吞噬。但爱你意味着，即使你以妓女的壳盛满作家的灵魂，我也矢志不渝。

杜拉斯巜情人篇六
《杜拉斯《情人》的形象学分析》

班级：09汉语言（二）班

姓名：宋梦捷

学号：090101020055

杜拉斯《情人》的形象学分析

形象学是比较文学里比较新兴的学科。形象学研究的重心是文学作品中的异国“形象”问题，异国相对于主体而言应该属于他者范畴，即不同于主体的排他性质。文学类异国“形象”中包括虚构的梦幻世界和真正的客观反映，无论如何这类描述都或多或少的接近真实却又不得不引人推敲。因为这里的“形象”“是经过注视者文化中的模式、程序而重组、重写的。”要研究“形象”不仅仅是要研究“他者”，还要分析主体。

杜拉斯以西方人的视角赋予东方独有的格调，通过塑造一些次等的东方形象及与具有优越感的白人之间的模糊却真挚的爱情，强调东方“异”文化和某种种族气质存在必然联系。本文主要以文本内部研究为主,旨在从“情人“中的异域场景和人物形象两个方面分析“情人”中的形象学意义。

玛格丽特〃杜拉斯于1914年4月4日出生在印度支那嘉定市。父母是法国小学教师，受殖民主义宣传的影响, 从法国来到当时的法属殖民地印度支那。她本人则在印度支那度过了她的青少年时代,直到十八岁时才回到法国巴黎。东方文明和异域情调、印度的民风民俗,都给她留下了难忘的印象。正如《杜拉斯传》中写到：印度支那殖民

地,已经成为了她生命的底片。特殊的异国身份让杜拉斯对印度支那怀有特殊的感情。她视之为故乡,童年的回忆也成为杜拉斯将来创作中的重要源泉。然而杜拉斯看待这一故乡的眼光却是复杂而暧昧的。这根源于作者双重社会身份之间的矛盾。她的家庭既不属于法国资产阶级,也不属于那些确实难以想象真能与之混杂在一处的越南人。杜拉斯从小就生活在贫穷、混乱、暴力的家庭中,她是穷人,有机会接触到那些生死线上顽强挣扎的越南底层人民,并对他们的苦难极为同情；但她又是白人殖民者,可以用居高临下的眼光注视那些挣扎在第三世界里的人们,并有意无意地赋予被殖民者特定的本质。杜拉斯既处于西方权力分配的弱势地位,又在东方场域占有白种女性的优越位臵。这种双重性。展示了这样一个事实, 即在殖民的背景下,欧洲女人深陷种族、性别、阶级的模式中。作为女人,她们在社会、政治地位上从属于男性,男性是她们理所当然依赖的人。作为白人妇女,她们是殖民地世界的一部分, 她们从这个世界上获得了相当的特权。

东方并不是实在的东方,它是被西方话语创造出来的他者。在这个意义上,东方有有弗洛伊德的东方、达尔文的东方、歌德的东方、雨果的东方、拿破仑的东方、种族主义的东方等,它从来就不是客观、纯粹的东方,它是被西方东方化的东方,是西方人心目中的他者。杜拉斯作为从小在印度支那殖民地生活的西方人,东方的热带气息早成为她生命中不可分割的部分,但是她意识的中西方人的身份认同是不可能丢弃的,因此在她的作品中自觉或不自觉地带有种族主义的眼光和观念。半个世纪过去了,旧时印度支那的风光,对杜拉斯来说依然清晰

如昨日。

“渡船四周的河水齐着船沿,汹涌地向前流去,水流所至。不论遇到什么都被卷去。不论遇到什么,都让它冲走了,茅屋,丛林,熄灭的火烧余烬,死鸟, 死狗, 淹在水里的虎、水牛,溺水的人,捕鱼的饵料,长满水风信子的泥丘,都被大水裹挟而去,冲向太平洋,连流动的时间也没有,一切都被深不可测、令人昏眩的旋转激流卷走了。”在杜拉斯的心目中,湄公河是那么充满力量, 充满生命的激情和欲望, 它让她感到惊奇,也有些许的恐惧。波涛汹涌的湄公河就像血液似的注入了杜拉斯的心底。还有独特的亚热带气候,同样给她留下了深刻的印象。“雨季,几个星期看不到蓝天,天空浓雾弥漫,甚至月光也难以透过；而在旱季, 天空裸露在外,一览无余就是没有月光的夜晚,天空也明亮的。白天日光使各种色彩变得暗淡朦胧,五颜六色捣得粉碎,尤其是夜晚, 更加美丽,充满了魅力,光从天上飞流而下,化作透明的瀑布,空气是蓝的,可以掬于手指间夜照耀着一切,照亮了大河两岸的原野一直到一望无际的尽头。每一夜都是独特的夜的声音就是乡野犬吠发出的声音。犬向着不可知的神秘长吠。”在这片土地上,季节的界限是如此分明,白昼与夜晚的景致是如此不同,在杜拉斯看来,是专属于东方异域的奇特景象。还有那喧嚣的城市,就像电影的音响放得过大,震耳欲聋, 城市就如同一列充满噪音的火车,熙攘的人群,炭火的叫卖声,说话声, 刺耳的木拖鞋声;还在城市中充溢着的各种气味,有焦糖的气味侵入,还有炒花生的香味,中国菜汤的气味,烤肉的香味,各种绿草的气息,茉莉的芳香,飞尘的气息,乳香的气味, 烧炭发出的气

味,城市的气味就是丛莽、森林中偏僻村庄发出的气息。恍然臵身于原始而神秘的亚热带丛林里,恍然回到了杂乱落后的法属殖民地。西方意味着文明的生活方式,井然有序的社会秩序,是一个被现代理性牢笼禁锢了的场域。东方却犹如魔域桃源:未开发的河流,森林和旷野,炎热的土地上横陈着赤裸裸的声色诱惑。这块野性盎然,浸润着肉欲的大地,现代文明的尸布尚未完全覆盖它, 它的泥土里还蕴藏着生命的种子。是这片充满生命力的土地使杜拉斯与那些在法国培育出来的白种女人完全不同。

就如杜拉斯在“情人”里描写的那样:“我身上本来也具有欲念的地位。我在十五岁就有了一副耽于逸乐的面目,尽管我还不懂什么叫逸乐。”在杜拉斯的眼中,这是一片完全不同于西方欧洲风情的东方土地,它充满了生命的热情与活力, 它也孕育了热情大胆的杜拉斯,它的确是她生命的底片。她热爱这片热土, 她也在笔下无数次的描述它,然而,这种爱是矛盾的, 也是复杂暧昧的。因为作为一名西方殖民主义者, 她始终是一个观察者, 始终是一种俯视的态度, 在她内心深处, 她对这一切是接受的, 同时也是排斥的。比如她对中国饭店的描写:“这些中国饭店占有几幢大楼的全部楼面, 大得像百货公司,又像军营,从这些大楼发出的声音在欧洲简直不可想象,这就是堂倌报菜和厨房呼应的吆喝声。任何人在这种饭店吃饭都无法谈话。我们来到最清净的一层楼上, 也是给西方人保留的地方。”从这里看出, 杜拉斯始终无法放弃作为欧洲白人的高雅和优越感, 在她眼里, 中国饭店就像百货市场一样嘈杂是无法安静就餐的。还有像野狗那样肮

脏可厌、 像乞丐那样盲目无理的人潮,还有刺耳的木拖鞋声,说起来像是在吼叫的中国话等等,这些描写无疑或多或少的都打上了种族的烙印。

《情人》里的白人女孩正是在印度支那的环境中浸染出来的新人,她在殖民地上出生、成长,比任何宗主国来的妇女都要更有活力、叛逆精神。她汲取了东方大地的精华,燃烧的欲望, , 同时, 她又具备白人特有的智慧和主动性。她对未来充满信心, 她坚定的想要成为作家,毫不羞涩的追求和享受性的快乐。杜拉斯笔下的这个白人小女孩独自站在风雨飘摇的渡口, 被东方男人仰视着。在殖民地, 人们总是盯着白种女人看,甚至十二岁的白人小女孩也看。家境富裕的华人竟然在一个未成年的白人女孩面前手足无措,他是胆怯的。这里有种族差异,他不是白人 他必须克服这种差异,所以他直打颤。正是在对自己的自我欣赏和自恋中,她一次又一次地展现自己的外貌与着装, 她不厌其烦地唠叨自己的粉、口红、香水、香皂、头发、帽子、裙、带、鞋。她无视道德和羞耻感, 她细腻地描摹着男性无法体验的为女性才有的生活、体验、感觉, 她毫不掩饰对于自己女性或美的特征的向往、沉醉以及这种外貌和着装之下的自己的欲望。白人女孩以其强烈的主体认知屹立于整个作品中。相反, 混血儿海伦•拉戈奈尔与之形成明的对比。海伦长得很美丽,却没有主见,她无法主宰自己，把握自己的命运,只能在寄宿学校白白地消耗着青春和美貌。她不学习,学不下去,读不进，她依偎着“我”,在哭,“我”摩着她的头发她的手,“我”对她说不走,留下,留在寄宿学校,和她在一起。海伦意识不到她很美。

杜拉斯巜情人篇七
《杜拉斯《情人》介绍演讲》

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