摘要
美国剧作家莉莲·海尔曼戏剧《儿童时代》、《小狐狸》、《丛林深处》和《阁楼玩偶》等,作为第二次女性主义浪潮的前奏,关注女性在面临异性恋制度、婚姻制度和母职制度等父权禁锢时的抗争,展现了海尔曼对父权制度下女性主体性建构的构想。同时,海尔曼笔下获得独立自我的女性却仍然深陷孤独,体现了海尔曼对于建构完整和谐女性主体性深感迷茫。
LiUian Hellman ＇ s four domestic plays portray recurring female images presented in heterosexuality, marriage and motherhood, three institutionalizing efforts of stabilizing and strengthening the family as a fundamental social institution. Hcllman, through the subversive effort breathed into her female characters, has consciously and wittily expressed to her con- temporary audience her bold wishes of realizing female subjectivity through women＇ s smashing and emancipating from the shackles of the imposed institutions. However, Hellman＇ s proposed solutions for female entrapment end with freedom from the patriarchal bandages, but with no further strategies for constructive relational identities.
出处
《广东外语外贸大学学报》
2014年第6期51-54,59,共5页
Journal of Guangdong University of Foreign Studies
基金
广东高校优秀青年创新人才培养计划"育苗项目""莉莲.海尔曼戏剧创作女性观研究"(WYM09093)
广东省哲学社会科学规划项目"莉莲.海尔曼原创剧中女性身份的规训与建构"(GD12YWW02)的研究成果
关键词
莉莲·海尔曼
家庭剧
女性身份
Lillian Hellman
domestic plays
female identity
