论奥斯卡·王尔德社会喜剧中浪荡子的性别身份建构  

A study on the construction of gender identity of dandies in Oscar Wilde’s social comedies

作　　者：江雨斯 JIANG Yusi(College of Foreign Languages and Literature,Fudan University,Shanghai 200433,China)

机构地区：[1]复旦大学外国语言文学学院,上海市200433

出　　处：《外文研究》2022年第2期41-49,107,共10页Foreign Studies

摘　　要：社会喜剧是王尔德职业生涯的最后一座高峰。在四部社会喜剧中,王尔德不仅成功塑造了一系列男性浪荡子形象,女性浪荡子形象也深入人心。浪荡子的形象丰富,不受性别局限,剧中浪荡子的性别身份是作者在两性平等的基础上进行的审美性建构,体现了王尔德支持妇女权利、倡导个性解放的进步思想。浪荡子不受道德的约束,他们可以是唯美的形式主义者,是道德的反叛者,也可以是拯救人于困境中的“英雄”。王尔德通过对浪荡子人物的多层次刻画,以期依靠艺术的力量为应对现代性危机提供新的遵循标准和解除路径。通过分析可以看出,王尔德喜剧中的浪荡子代表了对传统的社会礼制的反抗力量,标志着其倡导的新个人主义的充分发展。Social comedy is the last triumph of Wilde’s career life. In his four social comedies, Wilde constructs not only a cast of male dandiacal characters, but also many vivid female dandies. The profundity of the dandies allows them to be free of sex restrictions, implying that the gender identity of dandies in the plays is Wilde’s aesthetic construction on the basis of gender equality,and expressing his progressive attitude in supporting women’s rights and encouraging individual emancipation. Dandies are not bound by morals either. They can be the aesthetic formalists,ethical rebels, or “heroes” who save people from potentially disastrous situations. Through the depiction of dandiacal characters from diversified perspectives, Wilde intends to refer to the power of art to set up the principles to follow and guide a new way out to cope with the crisis of modernity. Based upon the analysis, it proves that the dandies in Wilde’s comedies represent the revolt against the uncreative reality and rigid social rituals, signifying the maturity of Wilde’s new individualism.

关 键 词：王尔德 厌女症 个人主义 浪荡主义 现代性 性别身份 

分 类 号：I106[文学—世界文学]