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杀人犯还是受害者?

时间:2020-07-05 19:09:38  来源:本站独家发布  作者:王雅璇[1]
杀人犯还是受害者?
  • 格拉斯佩尔的戏剧《琐事》的女性主义解读
王雅璇[1]
(重庆大学外国语学院,硕士研究生)
摘要:“杀人偿命,欠债还钱”这条看似永恒的真理在格拉斯佩尔的独幕剧《琐事》中并没有成立。女主角明妮杀了她的丈夫,最后却没有付出生命的代价。她是男性眼中的杀人犯,但在女性眼中,她才是真正的受害者。正是由于剧中另外两位女性彼得斯夫人和黑尔夫人的介入,让这起杀人案的结果变得扑朔迷离。彼得斯夫人和黑尔夫人最后终于在法律至上和人性至上之间做出了选择,当然这也是格拉斯佩尔的选择。本文试图通过对这两个女性角色态度和决定的分析,探讨《琐事》中的女性意识。
关键词:《琐事》 女性主义 杀人犯 受害
Murderer or Victim
— A Feminist Approach to Glaspell’s Drama Trifles
AbstractA murderer must repay with his life just like a borrower with money, which may seem like the timeless rule. But in Trifles, Glaspell gives Minnie who killed her husband a second way out. The murderer in the eyes of male is actually the victim in the eyes of female. There appears a turning point to the seemingly predictable trial result because of the intervention of two women. Mrs. Peters and Mrs. Hale have finally made their choice between the supremacy of law and humanity, which is also the choice of Glaspell. This paper tends to discuss the feminist consciousness embodied in Trifles, according to the analysis of the attitude and decision of these two female characters.
Key words: Trifles, feminism, murderer, victim.
 
 
 
Susan Glaspell (1876-1948) was one of the most famous American playwrights in 20th century when she was alive. However, she has been neglected for 20 years after her death. Not until the emergence of feminism criticism in late 1960s, Glaspell’s works regained attention, as her most important contribution is that she pioneered the tradition of American feminist drama[2]. The one-act play Trifles is her first drama, which was also cited as an early example of feminist play. And critic Karen F. Stein calls it “a uniquely female and, indeed feminist document”[3]. Trifles is adapted from a real murder case that a farmer named John was strangled by his wife when he was sleeping at night because he has subjected his wife to both physical and mental abuse for so long a time[4]. And the main part of this play is focused on the detection process of the murder case. Since its first performance in 1916, it is widely discussed and is also considered as a powerful driving force to the feminist movement.
Since Trifles is a classical feminist drama, it is unavoidable to view Trifles through the perspective of feminism. The rise of feminism criticism is attributed to the emergence and development of feminist movement, which can be divided into three stages. The feminist movement reached its first climax in the early climax in the early 20th century, when women began to realize their partial circumstance and untied together to fight for the same right as men. Just as Rivkin and Ryan wrote: ”Contemporary feminist literary criticism begins as much in the women’s movement of the late 1960s and early 1970s as it does in the academy”[5], the feminist criticism is the product of the second peak of women’s movement which pays more attention on the patriarchal culture during the period of 1960s. After the 1980s, feminism entered into its third stage, often called postmodern feminism, which is closely connected to the reflection of the traditional feminist theory. As the creation time of
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