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苏珊·桑塔格的八幕剧《床上的爱丽斯》是一出关于女性悲剧的戏。戏中女主人公爱丽斯对父权制社会的麻痹和压制的态度是既抗争又妥协。一方面,她消极反抗,甘愿囿于狭小的病床,在以想象构造的世界浮沉;另一方面,她的反抗却往往陷入“遭受打击——再度反抗——妥协逃避”的循环,全剧以想象的大获全胜结束。本文拟从该剧的插入音乐出发,分析爱丽斯在抗争父权制时所表现出的自我意识的自相矛盾,并揭示桑塔格通过该剧所要表达的一个事实,即虽然想象的胜利仍嫌不够,但是女性的性别反抗意识已然苏醒,女性在自我救赎的过程中亦获得了行动的勇气。
Susan Sontag’s eight play “Alice on the bed” is a drama about female tragedy. The protagonist Alice’s paralysis and repression of the patriarchal society is a struggle and a compromise. On the one hand, she has a negative resistance and is willing to stay in a small hospital bed and thus sinks in a world constructed by imagination. On the other hand, her resistance often falls into the cycle of “being hit, rebelled, compromised and evaded” The drama ended in a fantastic victory. This article intends to analyze the self-contradiction of Alice’s self-awareness in the struggle against patriarchy from the inserted music of the play and reveals the fact that Sontag wants to express through the play that although the triumph of imagination is still not enough , But women’s awareness of gender rebound is already awake, and women have the courage to act in the process of self-salvation.