帕克斯“红字戏剧”中海斯特的主体性研究
|
摘要
帕克斯的"红字戏剧"塑造了两位20世纪的美国黑人女性海斯特。因为贫穷的经济状况,她们丧失了应有的地位和权利,受到了社会的虐待和压迫,最终导致杀子悲剧的发生。但是她们并不是完全被动地忍受不公正的虐待和压迫,而是在受限的环境和权力中以各自不同的方式对其予以抵制和挑战,维护她们的人格尊严,表现出不同程度的主体性。
"The Red Letter Plays"by Parks describes two American black Hesters in the twentieth century. On account of their desperate poverty,they loss their rights and positions and are abused and oppressed by the society,consequently leading to the tragic end of killing their beloved sons. However,they do not passively endure the unjust abuse and oppression which society has imposed on them. On the contrary,within their limited environment and power,they respectively resist and challenge social injustice with different ways to maintain their personal dignity,displaying their different degrees of subjectivity.
"The Red Letter Plays"by Parks describes two American black Hesters in the twentieth century. On account of their desperate poverty,they loss their rights and positions and are abused and oppressed by the society,consequently leading to the tragic end of killing their beloved sons. However,they do not passively endure the unjust abuse and oppression which society has imposed on them. On the contrary,within their limited environment and power,they respectively resist and challenge social injustice with different ways to maintain their personal dignity,displaying their different degrees of subjectivity.
引文
[1]Cheryl Black.“A”is for Abject:The Red Letter Plays of Suzan-Lori Parks[J].Journal of Dramatic Theory and Criticism,2012(2):31-56.
[2]Suzan-Lori Parks.The Red Letter Plays[M].NY:Theatre Communication Group,2001.
[3]Alisa Solomon.Signifying on the Signifyin’:The Plays of Suzan-Lori Parks[J].Theatre,1990(1):73-80.
[4]Sinikka Grant.Haunted Heritage:History,Memory,and Violence in the Drama of August Wilson and Suzan-Lori Parks[D].Buffalo:State University of New York,2006.
[5]Carolyn Cope.The Woman’s Aesthetic in Selected Plays of Maria Irene Fornes,Holly Hughes,Wendy Wasserstein Marsha Norman and Suzan-Lori Parks[D].Carbondale:Southern Illinois University,2005.
[6]Kevin J Wetmore Jr,Alycia Smith-Howard.Suzan-Lori Parks:a Casebook[M].NY:Routledge,2007:71.
[7]Yong-Nam Park.The Melting Pot Where Nothing Melted:The Politics of Subjectivity in the Plays of Suzan-Lori Parks[D].Indiana:Indiana University of Pennsylvania,2008.
[8]闵敏.“重复与修改”的历史书写策略:评苏珊-洛里·帕克斯的“红字戏剧”[J].湖北民族学院学报(哲学社会科学版),2015(5):101-105.
[2]Suzan-Lori Parks.The Red Letter Plays[M].NY:Theatre Communication Group,2001.
[3]Alisa Solomon.Signifying on the Signifyin’:The Plays of Suzan-Lori Parks[J].Theatre,1990(1):73-80.
[4]Sinikka Grant.Haunted Heritage:History,Memory,and Violence in the Drama of August Wilson and Suzan-Lori Parks[D].Buffalo:State University of New York,2006.
[5]Carolyn Cope.The Woman’s Aesthetic in Selected Plays of Maria Irene Fornes,Holly Hughes,Wendy Wasserstein Marsha Norman and Suzan-Lori Parks[D].Carbondale:Southern Illinois University,2005.
[6]Kevin J Wetmore Jr,Alycia Smith-Howard.Suzan-Lori Parks:a Casebook[M].NY:Routledge,2007:71.
[7]Yong-Nam Park.The Melting Pot Where Nothing Melted:The Politics of Subjectivity in the Plays of Suzan-Lori Parks[D].Indiana:Indiana University of Pennsylvania,2008.
[8]闵敏.“重复与修改”的历史书写策略:评苏珊-洛里·帕克斯的“红字戏剧”[J].湖北民族学院学报(哲学社会科学版),2015(5):101-105.