卡瑞尔·丘吉尔早期剧作中“留白”的女性主义思想  

The Feminism of “White Space” in Caryl Churchill’s Early Plays

作　　者：莫詹坤 邵怡 MO Zhankun;SHAO Yi

机构地区：[1]南京财经大学外国语学院

出　　处：《广东外语外贸大学学报》2022年第6期83-92,159,共11页Journal of Guangdong University of Foreign Studies

基　　金：国家社会科学基金重点项目“当代苏格兰戏剧研究”(19AWW008)。

摘　　要：作为当代英国剧坛有史以来最伟大的剧作家之一,卡瑞尔·丘吉尔凭借20世纪70、80年代创作的一系列女性戏剧声名鹊起。纵观这一时期的创作,丘吉尔精心勾勒了一幅群体受难像,刻画了三类女性人群:男权统辖的女性、“变形”的女性和“自我规训”的女性。她未曾塑造任何一个“合格”的女性形象,而是邀请观者在此过程中反思悲剧成因,自查生存境遇。本文通过分析卡瑞尔·丘吉尔早期剧作中多位女性形象的构设,阐述丘吉尔“留白”的女性主义思想,挖掘这一创作理念背后的深层内涵。尽管距离诸部剧作的问世已近半个世纪,丘吉尔“留白”的女性主义思想在艺术、哲学、社会层面依然具有重要前瞻性价值。剧作家正是通过层层剥茧的叙述方式,以虚构的戏剧场景召唤世人伦理,期盼人们拨开迷雾,探求女性主义的多元内涵。As one of the greatest playwrights in the history of contemporary British theatrical circle,Caryl Churchill has become prestigious with several female plays written in the 1970s and 1980s. Throughout the creation of this period,Churchill elaborately outlined a suffering colony,depicting three female groups: maledominated women,“distorted”women and“self-disciplined”women;she did not portray any“qualified”female image,but invited the audiences to reflect on the causes of tragedy and launch the self-inspection in the process of observing the punishment. By analyzing the construction of many female images in Churchill’s early plays,this paper expounds Churchill’s feminist thought of“leaving blank”and explores the deep connotation behind this creative idea. Nearly half a century has passed since the stage of the plays,Churchill’s feminist thought of“leaving blank”is still of prospective value in contemporary society. It is through the delicate narrative way that the playwright summons the world’s ethics with fictional dramatic scenes,expects people to get rid of the illusion and pursues the diverse connotation of feminism.

关 键 词：卡瑞尔·丘吉尔 女性主义 《醋汤姆》 《九重天》 《高位女子》 

分 类 号：I106.4[文学—世界文学]