当代英国难民戏剧政治批评策略--兼评《可信证人》和《伪证女人》  

The political strategy in contemporary British refugee drama:A comparative reading of The Credible Witness and The Bogus Woman

作　　者：陈静[1] CHEN Jing(Hefei University of Technology)

机构地区：[1]合肥工业大学,安徽省合肥市230601

出　　处：《外国语言文学》2020年第1期47-56,共10页Foreign Language and Literature Studies

基　　金：安徽省教育厅人文社会科学研究项目“共识与抵牾:英国难民戏剧政治策略研究”(JS2018AJRW0087)

摘　　要：汀布莱克·韦腾贝克的《可信证人》(The Credible Witness, 2001)和凯·阿谢德的《伪证女人》(The BogusWoman,2001)是当代英国难民戏剧的代表作。它们均暴露了英国难民政策的某些弊端,特别是难民审查和拘留体系对难民权利的消解;但前者提出的创伤疗法、身体叙述和带有跨界意义的民族身份重构等政治对抗策略,在《伪证女人》一剧中却处处陷入僵局。难民戏剧的共识与抵牾反映了难民问题现实图景的复杂性,并在多元视阈里为难民问题的解决提供了更为理性的思考。The Credible Witness by Timberlake Wentenbaker and The Bogus Woman by Kay Adshead are two representative political plays on contemporary British refugee issues.Both have exposed such drawbacks of the British refugee policy as how the refugees'rights are diffused,disintegrated and finally lost in refugee censorship and detention system.While The Credible Witness has raised defiant political strategies of traumatic therapy,body narrative and re-establishment of cross-border national identity,all reach an impasse in The Bogus Woman.Thus,consensus and contradiction shown in refugee dramas reflect the complexity of refugee issue and provide more rational references for the settlement of refugee crisis in a pluralistic perspective.

关 键 词：《可信证人》 《伪证女人》 难民戏剧 政治批评 

分 类 号：I106[文学—世界文学]