ABSTRACT

Although the female protagonist in novel Mäeküla Piimamees serves as an instance of early 20^th century Estonian feminism, a re-reading based in Derridean différance reveals that Mari also “queers” the narrative through delivering its dramatic irony. Alongside a notable body of early twentieth-century Nordic literature, the text writes a “trope of silence” that constructs Mari as a “liminal” character in three interlinked ways. A Bakhtinian threshold chronotope delivers a “here-and-there” logic that underpins the storylines of all the characters, while writing Mari as socially “betwixt-and-between” and the male characters as outsiders, thereby delivering the feminist message of women’s right to individuality and equality. In terms of Merleau-Ponty’s construct of embodied experience as constitutive liminality, Mari is further rendered as emotionally self-prepossessed and mature, as opposed to the men’s anxiety, deference to power and dependence on her for their value. Through the notion of queer “orientation”, the way in which Mari willingly takes on the role of mistress challenges assumptions about her role as dutiful wife and subservient servant, leaving her standing alongside other literary characters that challenge heteronormative conventions.

摘要

虽然女性主角新颖MäekülaPiimamees用作20早期实例^个世纪爱沙尼亚女性主义，一个重新阅读基于在德里达分延揭示了玛丽还通过表达其戏剧性的讽刺来“激发”叙事。除了20世纪早期的北欧文学作品外，文字还写了“沉默之语”，以三种相互联系的方式将Mari塑造成“边缘人物”。巴赫金式的门槛年代记述法则提供了一个“在此而存在”的逻辑，该逻辑支撑了所有角色的故事情节，同时将马里写成是社会上的“介于中间”，而男性角色则写成“局外人”，从而传达出女性权利的女性信息。个性和平等。就梅洛-庞蒂（Merleau-Ponty）的将体验体现为构成性的自由性而言，马里（Mari）进一步被赋予了情感上的自我假设和成熟，而不是男人的焦虑，偏爱权力和对她的价值的依赖。通过奇怪的“定位”概念，