男女两性的博弈——品特记忆剧《昔日》中的凝视与反凝视  

The Game between Two Genders Gaze and Counter-gaze in Harold Pinter’s Memory Play Old Times

作　　者：刘飞鹏 刘明录[1] LIU Feipeng;LIU Minglu(College of Foreign Studies, Guangxi Normal University, Guilin, Guangxi 541006, China)

机构地区：[1]广西师范大学外国语学院,广西桂林541006

出　　处：《重庆交通大学学报（社会科学版）》2019年第3期89-95,共7页Journal of Chongqing Jiaotong University:Social Sciences Edition

基　　金：国家社会科学基金研究项目"接受美学视域下的品特戏剧研究"(13BWW049)

摘　　要：在当代英国剧作家哈罗德·品特的记忆剧《昔日》中,男主人迪利与访客安娜分别构建利己的"昔日"记忆,来对女主人凯特施以凝视,以获得控制凯特的权力。迪利在凝视中展现出父权对女性的贬低与控制欲;安娜代表父权式的激进女性主义,意图通过凝视规训同性;凯特并未成为二者凝视的消极客体,而是主动反凝视,运用话语重构昔日,以摆脱被规训的地位,消解凝视主体,建构起独立自主的女性新形象,呼应了当时的女性主义运动浪潮。In the contemporary British playwright s Harold Pinter s memory play Old Times , by creating memories of “old times” with themselves as beneficiaries, Deeley and Anna have imposed gaze on Kate so as to gain the power of controlling her. Deeley the host showed depreciation for females and the lust to control them in the frame of patriarchy;Anna the visitor spoke for patriarchal radical feminism, who intends to control and discipline her same-sex lover via gaze;however, Kate the hostess was not reduced to a powerless object in their gaze, but rather reestablishing the Old Times by her active use of discourse as counter-gaze in order to free herself from others discipline, dissolve the subject of gaze, and thus has constructed herself as a brand new self-reliant female image. It is also a reflection of the wave of feminism at that time.

关 键 词：《昔日》 凝视 反凝视 规训 

分 类 号：C913.1[经济管理]