| 李希梦.从悲剧的他者到独立的勇士——论《卖花女》中伊莉莎的蜕变[J].唐山学院学报,2024,37(2):79-84,93 |
| 从悲剧的他者到独立的勇士——论《卖花女》中伊莉莎的蜕变 |
| From Tragic Other to Independent Hero: On the Transformation of Eliza in Pygmalion |
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| DOI：10.16160/j.cnki.tsxyxb.2024.02.011 |
| 中文关键词: 卖花女 伊莉莎 规训与惩罚 权力理论 |
| 英文关键词: Pygmalion Eliza Discipline and Punish power theory |
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| 摘要点击次数: 337 |
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| 中文摘要: |
| 乔治·伯纳德·萧是继莎士比亚之后最负盛名的英国剧作家,他继承和发扬了亨利克·易卜生开创的真实反映社会现实、揭露社会痼疾的优良传统,创作了大量批判现实的社会问题剧,《卖花女》便是其中的优秀作品之一。在法国哲学家米歇尔·福柯的权力理论视角下,资本主义社会中的底层女性被边缘化、他者化、异化。《卖花女》中的女主人公伊莉莎经历了权力压迫下的身体和话语的双重规训,被消解了行动和话语的自主支配权。然而,反抗与规训是共生的,伊莉莎最终顿悟觉醒,勇敢地反抗资产阶级的权力控制和压迫,实现了身体和精神的双重解放。 |
| 英文摘要: |
| George Bernard Shaw, a renowned British playwright following Shakespeare, inherited and promoted the fine tradition of realistically reflecting social reality and exposing social ills initiated by Henrik Ibsen. He created numerous social issue plays critiquing reality, with Pygmalion being one of his outstanding works. Through Michel Foucault’s power theory, lower-class women in capitalist society are often marginalized, othered, and alienated. In Pygmalion, the protagonist Eliza undergoes dual discipline of power on her body and discourse, losing autonomy in action and discourse. However, resistance and discipline often coexist, and Eliza eventually awakens, bravely resisting the power control and oppression of the bourgeoisie, achieving dual liberation of body and spirit. |
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