認(rèn)同與抗拒

內(nèi)容概要

《認(rèn)同與抗拒:英國劇作家凱瑞·丘吉爾劇本中的女性性別身份研究》從女權(quán)主義文學(xué)研究的角度，以當(dāng)代英國女劇作家凱瑞·丘吉爾四個(gè)劇本為例，以循序漸進(jìn)的方式討論各劇本中主要女性角色如何通過對(duì)男性價(jià)值觀的認(rèn)同和抗拒來尋求自身發(fā)展。
論文首先從分析男性價(jià)值觀中對(duì)女性的貶低開始，女性往往被看作“虛弱的身體”；不僅男性，而且女性自己也常將女性在社會(huì)和家庭中居于從屬地位的原因歸結(jié)為女性的生育責(zé)任和其它生理特征，如月經(jīng)和子宮等。尼卓和格里絲達(dá)正是這樣的女性，她們被動(dòng)地認(rèn)同男性價(jià)值觀對(duì)女性的界定，屈從于弱勢的社會(huì)地位，在婚姻中被當(dāng)作交換的商品和生育機(jī)器。女性尋求自身價(jià)值的過程總是伴隨著對(duì)男性定義的女性性別身份的反抗，這種反抗的形式多種多樣，結(jié)果卻往往未盡如人意?！洞诇贰分械呐灾苯泳芙^成為“男性目光”下的傳統(tǒng)女性角色；喬安的反抗則更巧妙，她用“異裝”的方式“篡奪”男性壟斷的權(quán)利，不僅取得接受到良好教育，還憑借過人的學(xué)識(shí)成為教皇。女性的反抗還在父權(quán)社會(huì)最基本和核心的單位——家庭內(nèi)部爆發(fā)?！毒胖卦啤分械呢惖俨辉敢庾觥凹依锏奶焓埂?，她勇敢地走出家門尋求獨(dú)立的社會(huì)地位和性覺醒，不僅如此，女性對(duì)家庭的顛覆還表現(xiàn)在同性戀等方面。更多的女性從對(duì)男性社會(huì)的直接反抗轉(zhuǎn)向通過個(gè)人和事業(yè)發(fā)展謀求社會(huì)的成功和對(duì)女性的認(rèn)可，如《主人們》的瑪里恩和《上等女性們》中的瑪琳，她們以成功女性自居，已然成為社會(huì)的“上等女性”。
至此，通過劇中女性角色的女性身份確立在經(jīng)歷了從認(rèn)同一反抗的過程后，丘吉爾似乎看到了一條通向女性獨(dú)立和發(fā)展的康莊大道，但是，再細(xì)讀劇本，我們不難發(fā)覺這些女性角色抗拒結(jié)果是喜憂參半，而且劇作家在文本的字里行間隱約流露出對(duì)女性性別革命的擔(dān)憂和不確定。
可怕的厄運(yùn)如期而至；而瑪里恩為了自己的事業(yè)沒有給丈夫生孩子，卻成為丈夫仇恨的目標(biāo)，不止一次成為他幻想中要謀殺的對(duì)象；雖然瑪琳憑借在事業(yè)上的努力成為“上等女性”，但是，她的成功既不能說服她的姐姐放棄家庭主婦的地位，更沒有帶動(dòng)更多女性解放。
這些女性面臨的困難不僅驗(yàn)證她們尷尬的性別處境，同時(shí)反映出劇作家自身對(duì)女性解放事業(yè)認(rèn)識(shí)的局限性：女性到底應(yīng)該如何確定女性自身性別身份和尋求女性社會(huì)價(jià)值。雖然，在丘吉爾的劇本中以及在現(xiàn)實(shí)生活中，女性最理想的性別身份仍然在爭論中，我們的這個(gè)論題仍具有現(xiàn)實(shí)意義，即女性必須首先放棄對(duì)男性被動(dòng)依從的地位，跳出認(rèn)同男性價(jià)值的樊籠，才能發(fā)現(xiàn)和尋找自己的社會(huì)價(jià)值和性別意義。

作者簡介

朱巖巖，1976年5月出生于山東省棗莊市，華東師范大學(xué)英語專業(yè)博士畢業(yè)，現(xiàn)為北京交通大學(xué)人文學(xué)院外語系教師。主要教授《英國文學(xué)選讀》、《美國文學(xué)選讀》和《英語戲劇賞析》等課程。研究方向?yàn)橛⒚牢膶W(xué)與西方戲劇，主要從文學(xué)理論的新鮮視角來解讀戲劇和小說文本，具體研究角度包括：女性話語和女性寫作、文化研究、心理分析和讀者反映理論等。在學(xué)術(shù)論文方面，曾在《上海戲劇》《外國文學(xué)》等國內(nèi)各級(jí)期刊發(fā)表論文十余篇，并參與編寫多部教材。

書籍目錄

Introduction 1
Chapter one
Male Expectation: the Weaker Vessel
Chapter Two
His Property: the Exchanged Commodity
Chapter three
A Transvestite: Usurping Male Power
Chapter four
Witches: Against Male Gaze
Chapter five
Subversion in the Family
Chapter six
Gender Identity of Career Woman
Conclusion
Works Cited
文摘
Coincidently, the silent women characters also appear inCaryl Churchill's plays and those women are socially neglectedlike that sign-language translator. In Top Girls, Churchill employsthe technique of silence and creates a silent waitress as a foil tothose hustling women. She serves Marlene and other five femaleguests throughout the dinner party but has no opportunity to speak.When those women guests have a warm conversation, the waitressconstantly comes and goes, serving food and drink they order, butsays nothing. None of those women guests on the stage takes anynotice of the waitress. Though there is no way for the audience toknow who the waitress is and what she is thinking about, her exis-tence on stage is highlighted by her always silence. It is obvious that the waitress's embarrassing situation is similar to that of the sign translator in Showalter's observation at the conference. Both of the waitress and the sign translator serve effective roles, but pitifully neither of them has their own voices.
In the beginning of Feminist Critique of Language, Deborah Cameron brings up the question directly "What does it mean that women are silent？" The question is based on her observation that "It cannot be that women are always and everywhere silent, nor obviously, that they lack the ability to use language" （3）Cameron's question finds an indirect answer in Alice Jardine's analysis of language. Jardine reveals the fact that there exists the difference between women's voice in public and private spheres and then accordingly she makes a division of public voice and private voice. She differentiates the two in the following way that "the public voice, for example, lecturing and teaching, has tradi- tionally been preserved for the male" while "the private voice with intimacy has been left for as the female".（73）

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