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内容大纲
本书从喜剧的视角考察了华瑟斯汀各阶段的戏剧创作,试图阐释两个核心问题:她如何利用喜剧在当代戏剧舞台上呈现女性问题,以及喜剧这一类型本身蕴涵的精神内核又如何影响作家对女性主义的理解和批判。全书通过对其反映“两性之战”主题的代表作的分析,论述了华瑟斯汀采用的插曲式喜剧结构的特点及意义,研究了华瑟斯汀对当代美国女性的舞台形塑,试图对华瑟斯汀的喜剧思想做一个系统梳理和总结。 -
作者介绍
陈琳,英语语言文学博士,南京邮电大学副教授,美国弗吉尼亚大学访问学者,江苏省比较文学学会理事。主要研究方向为古希腊戏剧、莎士比亚戏剧、美国现当代戏剧、戏剧理论、性别研究,曾在《外国文学评论》《国外文学》《外国文学》等顶级核心期刊发表论文多篇,主持江苏省哲学社会科学基金项目“西方古典喜剧的身体研究”。 -
目录
Introduction
1 Empowerment and Containment. Women in Western Male Comedy Tradition
1.1 "Female Intrusion" and "Powerful" Women in Aristophanes' L ysistrata
1.2 Sexual Violation and Passive Women in Greek and Roman New Comedy
1.3 Comedy of Romance and Unruly Women in Shakespeare's The Taming of the Shrew and Much Ado About Nothing
1.4 Irreconcilable Battle and New Women in Shaw's Pygmalion and Wilde's A Woman of No Importance
2 Contest and Balance: Dialectical Structure of Wasserstein's Comedies
2.1 Teleological vs. Dialectical: Structure of Comedy
2.2 Fantasy and Contest: Plot Structure of Uncommon Women
2.3 A Balance of the Comic and the Serious: Emotional Structure in Uncommon Women
2.4 Possibility and Hope: Romance and Ending in Uncommon Women
3 Redefing Female Comic Identity: Wasserstein's Comic Heroines as Survivors
3.1 The Polemic on Comic Women
3.2 Sympathetic Women in Uncommon Women and Isn't It Romantic
3.3 Reflective Comic Heroine in The Heidi Chronicles
3.4 Women Survivors in The Sisters Rosensweig
4 Feminism in Comic Spirit: Comic Construction of Self in Wasserstein's Plays
4.1 The Tragic Self on Feminist Stage
4.2 Split and Reconciliation in Uncommon Women and Isn't It Romantic
4.3 Feminism in Comic Spirit in The Heidi Chronicles
4.4 Coming to Terms with the Self in The Sisters Rosensweig and Third
5 Conclusion
References
Index
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