【作者】 杨敏；

【导师】 何成洲；

【作者基本信息】 南京大学 ， 英语语言文学， 2016， 硕士

【摘要】 阿瑟·米勒是20世纪美国文学中举足轻重的剧作家之一。因其戏剧作品具有强烈的社会意识和批判精神,米勒常被称作美国戏剧界的良心。在其众多的剧作中,米勒成功塑造了很多“悲剧的普通人”,尤其是带有悲剧性格的男性人物,而其女性人物,则常常扮演着传统的妻子或母亲的角色,并被局限在家庭之中。本文通过运用“他者”这一概念,意在论述在米勒的早期剧作中,女性常常是作为他者出现的,经过了男性“自我”的投射和塑造。她们是被动的、消极的人物,不是具有自我权力的个人,而是作为实现男性目的的工具。本文主要研究了米勒早期的四部剧作中的七位女性,依据其不同的形象和定位,将之分为三类：作为欲望客体的玩偶形象,作为受压抑和束缚的妻子形象,以及被妖魔化或者神圣化的女性形象。第一章主要分析了《桥头眺望》中的凯瑟琳和《全是我儿子》中的安这两个女性角色。通过分析“玩偶”这一由来已久的文学暗喻,作者强调“玩偶”即是将女性他者化的最初步骤。女性被再现为美丽的“玩偶”,一种非人的存在(波伏娃语),可以被男性把玩和消遣。毫无疑问,凯瑟琳是这类人物的典型代表,她美丽温顺,始终作为男主人公艾迪的欲望对象出现。同样,安也是作为一个“玩偶”出现的：在凯勒一家人中,她始终被标明是拉里的女孩,不具有自我,不能够决定自己的命运。第二章分析的是《全是我儿子》中的凯特和《桥头眺望》中的贝特丽丝。她们是另一种他者化的女性形象,是在婚姻中受压抑和束缚的家庭主妇。面对丈夫的罪恶,凯特最终保持了沉默,而这也将她逼到了疯狂和歇斯底里的边缘。凯特无法言说,因为丈夫声称他所做的一切都是为了这个家和自己。而她,实际上,成为了家中最受煎熬的灵魂。贝特丽丝所遭受的则是另一种压迫,她不仅要屈服于艾迪在家中的主导地位,还要受到他的性冷遇。因为丈夫对凯瑟琳的不伦之恋,贝特丽丝已经不再被当做妻子,在家庭中,她更像一个局外人。第三章分析的则是被妖魔化或神圣化的女性形象,分别是《炼狱》中的阿碧格和伊丽莎白以及《推销员之死》中的琳达。这三个人物代表了米勒早期剧中对女性典型形象的刻画,她们或者是蛇蝎毒妇或者是男性心中最为理想的妻子,对女性的两极刻画更加明显的体现了米勒剧中的男权主义思想。阿碧格是典型的荡妇形象,与美狄亚一脉相承。她的邪恶来源于她对男主人公普罗克托的引诱以及对无辜村民的诬告,由此她也被逐出了观众同情和怜悯的范围。但是当我们换个角度重新审视阿碧格时,就会发现,她实际上是普罗克托的受害者和猎物,在被消遣完之后,她变成了男主人公口中的荡妇和骗子。她在萨勒姆逐巫过程中,更多的是作为男权社会的帮凶出现的。在这部剧中,伊丽莎白则是截然不同的女性,她被刻画为一个诚实善良的清教徒妇女,最后拥抱了男权,主动承认了自己在丈夫外遇中的责任。《推销员之死》中的琳达则是彻底神圣化和理想化的女性形象。琳达的一生都信仰着威利的信仰,梦想着他的梦想,全心全意的为家庭和丈夫奉献自己的一切。这一理想化的角色代表了男权社会的最终幻想,一个女人为了男人的目的和意义奉献一切。上述的七位女性是米勒早期剧中的主要女性角色,她们也代表了这一时期米勒对于女性的理解和刻画。作为一名男性剧作家,米勒的女性人物刻画无疑在一定程度上带有男权中心主义的偏见,这种偏见有其特殊的时代和民族烙印。更多还原

【Abstract】 As one of the most influential playwrights in 20th century American literature, Arthur Miller is often considered as the "conscience" of American theater, for which Christopher Bigsby procliams that "no other American writer has so successfully touch a nerve of national consciousness". While Miller creates numbers of flawed "tragic common man" in his early plays, his female characters are always represented as the passive and repressed Other.By adopting the term of the Other, the thesis has carried out a careful and detailed reexamination of Miller’s early plays. It demonstrates that in his early plays women are always represented as the passive and negative characters, who can neither possess their subjectivity, seek their true self, nor voice their own voices. The seven female characters in the four plays are divided into three categorizations:the dolls as the object of men’s desire, the repressed and silenced housewives, and the demonized and sainted women.Chapter one examines the roles of Catherine in A View from the Bridge^ and Ann in All My Sons. It is to contend that Catherine and Ann are represented as the Other in the sense that they are reduced to be dolls, the impersonal being that can be consumed and exchanged. They are represented as merely the objects of men’s sexual desire, which would never possess their subjectivity, their own action and voice. Catherine, the niece, is the submissive paper doll:the object of Eddie Carbone’s incestuous desire. As to Ann, she is endowed with a rather ambiguous and complex quality as the betrayal daughter and sister in her own family, and moreover she is depicted as a subordinate and dependent girl that can be exchanged between brothers of the Kellers.Chapter two explores the roles and psyche of the married women, who are repressed and silenced by the masculine oppression. Kate Keller, burdened with the shame and guilt of Joe’s culpability and Larry’s mysterious suicide, is driven to the edge of hysteria and madness. Her hysterical actions are the manifestations of her crushed conscience, repressed soul and silenced voice. Beatrice, though she speaks out her husband’s secret desire, is greatly repressed and abused by her husband, especially by his sexual refusal.Chapter three reexamines the dichotomized female images in Miller’s works including Abigail, Elizabeth and Linda. They are the stereotypical female images in literature. The chapter argues that in spite of overt differences among them, they are all represented as the Other, who are endowed with the goodness and evil by male domination. Their images are the reflections of male perspectives of women. Abigail, the sinister temptress and accuser, can be also interpreted as a victim of John’s sexual desire, and an accomplice under the male-dominated authorization in Salem Witch Trial. Elizabeth, who is not hanged at the end, exemplifies a good Puritan wife who bends to male domination and claims her responsibility in her husband’s adultery. When it comes to Linda, she is the foil character to Willy, the ultimate model wife, who is willing to sacrifice all for her family and believes in her husband whole-heartedly.Miller’s characterization, though biased and male-dominated as some critics called it, can be read as a reflection of the female existence of his time and country, and still an alarm to warn for today’s females in America and the world.更多还原