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20世纪后半叶以来,莎士比亚的作品已不再被视为超国界的、普适性的。特别是在那些已结束被殖民历史的所谓后殖民地区,莎士比亚是否代表着欧洲中心主义或白人强权,常常成为人们关注的焦点。在这样一种语境中,莎士比亚的作品在世界各地舞台上经历一连串变奏。有时,它成为反西方霸权运动的牺牲品,被粗暴地当作帝国主义的代言人;有时,它又变成反对白人特权的英雄。近几年对莎剧的舞台演绎则更为多样,开始对殖民者与被殖民者之间的复杂关系进行反思,让莎剧在殖民议题上的内涵更加丰富。
Since the second half of the 20th century, Shakespeare’s work is no longer regarded as super-universal and universal. Especially in those so-called post-colonial regions that have ended their colonial history, whether or not Shakespeare represented Eurocentrism or white power often becomes the focus of attention. In such a context, Shakespeare’s work undergoes a series of variations on the stage all over the world. At times it fell victim to the anti-Western hegemony movement and was used as the spokesman for imperialism roughly; at other times it turned into a hero against white privilege. In recent years, Shakespeare’s stage interpretation is more diverse, began to reflect on the complex relationship between colonizers and colonists, Shakespeare’s connotations on colonial topics more abundant.