【作者】 仇萍；

【导师】 费春放；

【作者基本信息】 华东师范大学 ， 英语语言文学， 2008， 硕士

【副题名】玛利亚·福尼斯作品《费芙和她的朋友们》和《生活的行为》女性主义解读

【摘要】 本论文探讨了女性困境在美国当代先锋剧大师福尼斯的代表作:《费芙和她的朋友们》和《生活的行为》中的体现。为了突显父权制社会对女性无处不在的约制力量,本文集中分析了女性困境的三种不同的表现形式:外界,界面和内在。第一章主要研究福尼斯的导演技巧中空间布景上的特色。福尼斯的这两部作品,从不同的却又互补的方面,描述了女性在家庭空间中的受困处境。第二章主要讨论了福尼斯在戏剧舞台上对暴力的表现。暴力作用于女性身体,而女性身体又是连接外界和内在的界面。该章节主要讨论了福尼斯所表现的两种暴力形式:无形的精神折磨和有形的身体暴力。无论是哪种形式,他们都是为了保持父权制社会男性主宰,女性附属的阶层关系服务的。本文的第三章主要探讨了女性人物内在的心理发展过程.当女性受困于家庭空间,而且又承受着来自社会和家庭的暴力时,她们的受困处境在内在心理层面也得到了很好的表现。本文作者将两部剧作中的人物分成不同组群。在自我的挣扎中,她们或是体现出心理分裂,或是体现出最后的对于父权制意识形态的内化。结论一章探讨了两剧耐人寻味的结尾,并将两剧设置的故事时间背景与真实的历史时间做了比较。这两部作品所设置的时间背景正好反映了历史上女权主义运动的发展和倒退。在这五十年的时间间距中,女性在父权制社会中的受困处境并没有太大的改善。同时,本文作者还指出,作为戏剧老师的福尼斯,她的作品旨意并不在于提供解决问题的现成答案,而是寄希望于观众/读者们来找到女性困境的出路。更多还原

【Abstract】 In this thesis, I conduct a research of the entrapment of women represented in two of the best dramatic works of Maria Irene Fornes: Fefu and Her Friends and The Conduct of Life. Concentrating on the three forms of manifestations of entrapment of women from exterior, interface and interior aspects, I arrange my thesis in a way that underpins the pervasive power of patriarchal forces on women. In Chapter One, I study Fornes’ directing technique in spatial arrangement of her sets. Both plays, in a different but supplementary way, represent her efforts to portray entrapment of women in domestic confinement. In Chapter Two, I exam Fornes’ dramatization of violence on the female body, which serves as the interface connecting the exterior world and interior world of women. I focus on two types of violence: the invisible mental torture and the visible physical violence, both of which are used to maintain the hierarchal order of male dominance and female subordinance. In Chapter Three, I discuss the women characters’ interior psychological development rendered by domestic confinement in the exterior world of women and the violence at the interface of the female body. I segregated women characters into groups, which exhibit differences yet share similarities among themselves, either displaying psychological disintegration in their struggles or the final internalization of patriarchal ideology. In Conclusion, I draw a timeline for the plays and parallel them with the progress and regression of the women’s movement. Fifty years in between the plays are set, there seems to be little changes of women’s’ entrapped situation in patriarchal societies. I also point out in the conclusion that Fornes, also as a great teacher in theatre, is not intended to give out answers but to let spectators/readers find out their own answers to the entrapped situation of women.更多还原