从边缘到中心：《芳心之罪》中女性个人空间研究

发布时间：2018-05-29 18:20

本文选题：贝丝·亨利 + 《芳心之罪》　；参考：《南京师范大学》2017年硕士论文

【摘要】：贝丝·亨利(Beth Henley 1952-)是当今美国戏剧界著名剧作家,她的作品主要围绕南方家庭生活中的女性及其命运展开,《芳心之罪》就是其中的一篇,它是贝丝·亨利迄今为止最有影响力的剧作,曾获得包括普利策奖以及纽约戏剧评论家协会奖在内的诸多奖项。剧中主人公玛格丽特姐妹在父权社会中饱受压迫,试图从家庭的边缘走向中心,但最终因三姐妹未意识到拥有独立空间的重要性,没有努力追求更多的权力与空间,仍然处于边缘地位。本论文以列斐伏尔、索亚的理论为支撑,采用文本细读的方法,对贝丝·亨利的戏剧《芳心之罪》中的女性个人空间进行了解读,旨在揭示女性在家庭空间中的从属地位,探讨贝丝·亨利在作品中所展现的美国南部小镇中女性的生存空间及其为拓展自身空间所做的努力。引言部分简述了作家生平及其成长经历,并对其代表作《芳心之罪》进行概述,同时梳理了目前国内外贝丝·亨利的研究现状。论文首先分析了玛格丽特三姐妹在父权社会里处于极度不平衡空间关系的状态,指出这种现象的产生一方面是因为受到男性社会空间的挤压,另一方面受到家庭内部空间的监视,因而无法在属于自己的空间里发声。接着,论文阐述了三姐妹在不平衡的家庭空间中被边缘化的原因及其表现形式,揭示三姐妹无意识地将自己边缘化,从而成为父权社会奴役的对象的事实。论文然后进一步地讨论了随着男性对女性控制的减弱,同时三姐妹有所醒悟,并采取行动,试图在家庭空间的边缘走向中心,但最后并未成功。论文最后一部分通过分析三姐妹在父权社会中未能真正走向家庭中心,获得属于自己空间的困境,揭示了剧作家矛盾的女性主义观。本文借助空间批评理论对《芳心之罪》中的女性个人空间演变过程进行了剖析,以期扩充对贝丝·亨利及其作品的研究视角。作品通过分析玛格丽特三姐妹努力从个人空间边缘走向中心的失败过程,揭示了女性在父权社会中拥有自己独立空间的艰难,以及剧作家对待南方女性要求独立的矛盾态度。论文认为即使在家庭属于女性的个人空间,也充满了意识形态色彩,有着控制与反控制,边缘与中心的截然二分。
[Abstract]:Beth Henley Henley is a famous playwright in the United States today. Her works revolve around women and their fate in southern family life. It is the most influential play ever written by Beth Henry, winning awards including the Pulitzer Prize and the New York Academy of Drama critics Award. The protagonist, Marguerite, is oppressed in the patriarchal society and tries to move from the edge of the family to the center, but because the three sisters do not realize the importance of having independent space, they do not strive to pursue more power and space. Still on the edge. Based on the theory of Lefefort and Sawyer, this paper, by means of the method of text reading, interprets the female personal space in Beth Henry's play "the sin of the Heart" in order to reveal the subordinate position of the female in the family space. This paper probes into the living space of women in small towns in the south of the United States and her efforts to expand her own space as shown by Beth Henry in her works. In the foreword part, the writer's life and his growing up experience are briefly described, and his masterpiece, the sin of Fangxin, is summarized, and the present research situation of Beth Henry at home and abroad is also summarized. Firstly, the paper analyzes the extremely unbalanced spatial relationship between the three sisters in the patriarchal society, and points out that this phenomenon arises on the one hand because of being squeezed by the male social space. On the other hand, it is monitored by the inner space of the family, so it can not speak in its own space. Then, the paper expounds the reason of the three sisters being marginalized in the unbalanced family space and their forms of expression, and reveals the fact that the three sisters unconsciously marginalize themselves and thus become the objects of patriarchal society enslavement. The paper then further discusses that with the weakening of male control over women, the three sisters wake up and take action to try to move toward the center on the edge of family space, but it does not succeed in the end. In the last part of the thesis, the author analyzes the three sisters' failure to come to the family center in the patriarchal society and obtains the dilemma of their own space, and reveals the contradictory feminist view of the playwright. With the help of the theory of space criticism, this paper analyzes the evolution of female personal space in Fangxin Crime in order to expand the perspective of research on Beth Henry and her works. Through the analysis of the failed process of Marguerite sisters' efforts to move from the edge of personal space to the center, it reveals the difficulty of women having their own independent space in the patriarchal society and the contradictory attitude of playwrights towards the independence of women in the south. The paper holds that even in the personal space of women in the family, it is also full of ideological color, with control and anti-control, edge and center of the diametrically dichotomy.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I712.073

【参考文献】