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莎翁剧作中,个人危机总是不可避免地和政治危机相关联,身体被卷入某种政治,男性权力的运作依赖于对身体的控制。《哈姆莱特》中奥菲利娅从一个开心少女变为手捧花束的疯癫歌者,最后溺水而亡,她的形象也从甜美温顺转向幽灵般行走的疯癫,直至最后成为漂在水面的溺亡的白色身体。从顺从男权体制到质疑并挑战理性的权威和合理性直至变成终极的死亡嘲讽,奥菲利娅疯癫及死亡的女性身体变成了男权社会里的不安的想象和政治肿瘤,成为颠覆男权权力的潜在威胁。
In the Shakespearean plays, individual crises are always associated inevitably with the political crisis, the body being involved in some kind of politics, and the functioning of male power depends on the control of the body. In the Hamlet, Ophelia changed from a happy girl to a crazy singer holding bouquets and finally drowned. Her image also shifted from sweet and meek to spooky walking until it finally became a surface water Drowning white body. From obedience to the patriarchal system to questioning and challenging the authority and rationality of reason until it becomes the ultimate death taunt, the body of Ophelia’s insane and dead female body becomes an uneasy imaginary and political tumor in the patriarchal society that becomes subversive Potential threats to male authority.