摘要
品特的戏剧《回家》中的身体叙事分为静态身体叙事、显性动态身体叙事和隐性动态身体叙事。这三个层次互为补充,彼此依托,形成复杂的立体叙事结构。身体作为文本叙事的对象、内容和媒介,承载戏剧主题的表述,推动戏剧情节的发展。身体主动参与到两性权力争夺,两性身体的对峙、对抗与女性身体的流动性革命展现了两性权力博弈的图景,诠释了身体的主动性、生产性和流动性。身体和权力关系得以改写,身体和身份得以重塑。戏剧文本因身体而躯体化,身体因戏剧文本而符号化。
Body narrative in Harold Pinter＇ s The Homecoming incorporates three parts： the static body narrative, the overtly dynamic body narrative, and the covertly dynamic body narrative, which are mutually complementmy and dependent, forming a complex three-dimensional narrative structure of the play. Body, the object, the content and the medium of the drama narrative, high- lights the theme of the play and facilitates its plot development. Body actively participates in the power struggle between genders. The body contrast, the body confrontation, and the fluidity of the revolutionary female body unveil the mechanism of the power struggle between genders and dem- onstrate the activity, productivity, and mobility of body. The body-power relationship is hence re- theorized and both body alized through body and and identity are reshaped body becomes denotative . Consequently, the drama narrative is corpore- through the drama narrative.
出处
《外国文学研究》
CSSCI
北大核心
2012年第5期70-76,共7页
Foreign Literature Studies
基金
作者主持的2010年度黑龙江省教育厅人文社会科学项目"当代英美戏剧(1950年后)"【项目批号:11554098】的阶段性研究成果
关键词
《回家》
身体叙事
权力
性别
身份
The Homecoming body narrative power gender identity
作者简介
王晶，哈尔滨工业大学外国语学院英语系讲师，主要从事英美文学和英语戏剧研究。
