结构主义视角下的莎剧女性叙事  

A structural analysis to Shakespeare's narrative of women characters and more

作　　者：李树春[1] 

机构地区：[1]湖北师范学院外国语学院,湖北黄石435002

出　　处：《湖北师范学院学报（哲学社会科学版）》2009年第1期56-58,共3页Journal of Hubei Normal University（Philosophy and Social Science）

摘　　要：如果用结构主义的视角来考察莎剧的女性叙事,可见无论对女角之女性温柔与聪明的颂扬,还是对其深具男性之粗犷甚或野心的批判,都是以父权秩序的稳定为起点与依归,以女角参与男权话语之过程为情节,以女角是否认同自己的社会身份为悲、喜剧之分界和结局,从而构成一个看似线性而实则循环的叙事模式。而莎剧中这一以女性进入与退出男性话语为旨归的父权叙事结构,正是对女性社会性别之建构过程的完整阐释。William Shakespeare has created many prominent women characters in his great plays, such as Portia in Merchant of Venice, Cordelia, Goneril and Regan in King Lear, Katherine in Taming of the Shrew, and Lady Macbeth in Macbeth. Despite the radiant eulogies of women＇s wisdom and gentility, or criticisms of men＇s stupidity and coarseness, this thesis argues that the narratives of women characters in various plays unanimously start with and end in a central concept - the patriarchal order, are plotted on women＇s participation in men＇s affairs, while are framed into genres of comedy or tragedy as to whether they identify with their social role; therefore, the narratives of women have in essence constructed a cycled pattern with the core of the patriarchal order. This patriarchal narrative pattern characteristic of women＇s entry into and retreat from the male＇s arena explicitly footnotes the engendering process of women in the patriarchal society. Meantime, more than structuralist theory is employed in the interpretation of the narratives of women, which suggest the feasibility and effectiveness of more than one visual angle in the re - reading of classics.

关 键 词：叙事模型 社会性别 父权社会 男性话语 

分 类 号：I106.3[文学—世界文学]