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本文通过对辛格的代表剧作《峡谷的阴影》和《西部好汉》的分析 ,论证其作品中女性人物身上所折射出的双重声音 :一方面 ,辛格将年轻女性置于社会的对立面 ,赋予她们以一种不同于物质性现实社会的特征 ,她们与代表着自由和传说世界的流浪汉之间的碰撞成为另一种生活选择的尝试 ;但另一方面 ,剧本的结尾又似乎颠覆了这一希望的主题———风平浪静之后 ,舞台上最后留下的现实社会的一幕不仅改写了作者对年轻女子的期望 ,也流露出他对爱尔兰现实的绝望情绪。
By analyzing Singh’s representative play “The Shadow of the Canyons” and “Western Heroes”, this article demonstrates the dual voice reflected in the female figures in his works: on the one hand, Singh places young women in the opposite of society, Imposing them in a different kind from the materialistic realities of the collision between them and the vagabonds representing the free and legendary world is another attempt to make a living choice; yet on the other hand, the end of the script seems subversive The theme of this hope - after the calm, the scene of the real society left behind on the stage not only rewrites the author’s expectations of the young woman, but also shows his despair of the Irish reality.