从《第十二夜》管窥英国文艺复兴时期的“姐妹情谊”  

Glimpsing the"Sisterhood"during the English Renaissance in Twelfth Night

作　　者：戴丹妮[1] 赵育宽 Dai Danni;Zhao Yukuan

机构地区：[1]武汉大学外国语言文学学院 [2]复旦大学外文学院

出　　处：《中国莎士比亚研究》2022年第2期131-141,共11页

摘　　要：因其狂欢化叙事特征加之传统的大团圆结局,《第十二夜》自初登舞台后就被视为一部经典莎氏浪漫喜剧。然而,鉴于这出异性恋戏剧中的异装元素和暗涌的女同性恋特性,剧中奥丽维娅一角的结局显然并没有如其副标题所言“各遂所愿”。以女同性恋女性主义的视角重新阐释《第十二夜》中奥丽维娅的性取向,以及她与西萨里奥/薇奥拉之间的关系,揭示这部经典喜剧中的女同性恋存在和女同性恋连续统一体,以及当时社会对女性同性社会关系的态度,观照英国文艺复兴时期的“姐妹情谊”,解构这部为异性恋话语所主导的浪漫喜剧。Since its premiere,Twelfth Night has been considered a classic Shakespeare romantic comedy because of its carnival narrative features and traditional happy ending.Nonetheless,considering the cross-dressing and lesbian characteristics implicit in this ostensible heterosexual play,this paper argues that the character of Olivia in Twelfth Night finally does not obtain what she wants as the subtitle What You Will indicates.Through the lens of lesbian feminism,this paper reinterprets Olivia'ssexual orientation nalong with her relationship with Cesario/Viola in Twelfth Night,revealing the lesbian existence and lesbian continuum in this classical comedy and showing the attitude of a community responding to the female homosocial relationship,which may provide a glimpse of the"sisterhood"in the English Renaissance and deconstruct this romantic comedy that has long been dominated by heterosexual discourse.

关 键 词：《第十二夜》 女同性恋女性主义 英国文艺复兴 姐妹情谊 

分 类 号：I20[文学—中国文学]