从新历史主义视角看《漫游者》中的性别对抗与政治劝诫

发布时间：2018-07-28 13:35

【摘要】：班恩的《漫游者》虽取材于基利格鲁的《托马索》,但在情节紧凑性和美学典型性意义上都要更胜一筹,这也是它不仅成为复辟时期最成功的戏剧之一,而且在整个18世纪仍然保持着稳定上演机会的原因。复辟时期戏剧与政治的联系密不可分,伦敦的国王剧院和公爵剧院俨然成为宫廷趣味的代表,能够在剧场上演的剧目因此大多含有保王主义或者托利党政治色彩。作为复辟时期与德莱顿等人平分秋色的女性剧作家,班恩的《漫游者》上演时却是匿名,背后究竟有何隐情?本文通过对1677年英国的历史事件与国内外形势的分析,结合《漫游者》中透露出的细微信息,试图还原具体语境下的话语博弈现场,该剧体现了在社会转型期的英国性别与政治领域惊心动魄的战斗,而这两条战线之间亦有着千丝万缕的联系。
[Abstract]:Bann's "Rover" is based on Kiriglu's "Tommaso", but it is not only one of the most successful plays of the Restoration period, but also a better one in the sense of compactness and aesthetic typicality. And throughout the 18 th century, the reason for the chance remained stable. During the restoration period, drama and politics were inextricably linked. The King's Theatre and the Duke's Theatre in London had become the representatives of court interest. Therefore, most of the plays that could be performed in the theater contained royalism or Tory party politics. As a female playwright who split equally with Dryden and others during the Restoration period, Bann's "the Rover" was performed anonymously. What is the secret behind it? Based on the analysis of the historical events in Britain in 1677 and the situation at home and abroad, and combined with the subtle information revealed in rover, this paper attempts to restore the scene of discourse game in specific context. The play embodies a thrilling battle between gender and politics in Britain during the social transition period, and the two fronts are inextricably linked.
【作者单位】：南京大学文学院;凯里学院人文学院;
【基金】：2014年度教育部人文社会科学研究青年基金项目“英国十七世纪作家阿芙拉·班恩研究”(项目编号:14YJC752035)的阶段性成果
【分类号】：I561.073

【共引文献】