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爱尔兰流浪族群是一支处于主流社会边缘的游牧少数群体。定居社群对该族群长期施加的“他者”陈规以及在文化和空间层面的排挤迫使后者以对抗的姿态向主流文化传统发起挑战,并试图重构其文化身份。本文聚焦于当代爱尔兰女剧作家玛丽娜·卡尔的代表剧作《猫原边……》中海斯特·斯维恩的爱尔兰流浪者身份,结合当时的社会文化语境来考察她所遭受的歧视与压迫对爱尔兰流浪族群的生存困境的映射,并探析卡尔,通过沼泽原为海斯特所属流浪族群探寻文化身份,创造地理想象空间的文化策略。这一解读有助于读者意识到剧作家将爱尔兰流浪者形象重新搬上舞台的真正意图,即彰显流浪族群在建构爱尔兰多元文化身份中不可或缺的作用和促使当代爱尔兰人意识到多元文化、不同社群之间进行“对话”与“协商”的必要性。
The Irish wandering community is a nomadic minority on the brink of mainstream society. The long-standing “otherness” stereotypes imposed by the settlement community on this ethnic group and the crowding out of cultural and spatial dimensions have forced the latter to challenge the mainstream cultural traditions in a confrontational manner and attempt to reconstruct their cultural identities. This article focuses on the Irish homeless identity of Hester Swane in the representative play “Cat Origin” of the contemporary Irish drama playwright Marina Karl and examines her suffering from the social and cultural context of the time. Discrimination and oppression on the survival dilemma of Irish wandering ethnic groups, and to explore the cultural strategy of Karl, exploring the cultural identity and creating the geographic imagination space for the wandering ethnic groups belonging to Hester. This interpretation helps readers realize that the playwright’s real intention of reinstating Irish wanderers to the stage is to demonstrate the indispensable role of homeless in building Irish multicultural identity and to inspire contemporary Irish people to be aware of multiculturalism, The need for “dialogue” and “negotiation” between different communities.