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| 題 名 | Re-Presenting the Female Body : Parody and the Female Grotesque in Eve Ensler’s Vaginas and Bellies=重新展現女性身體 : 伊娃、恩斯樂陰道和肚子裡的滑稽模仿和女性怪誕 |
|---|---|
| 作 者 | 林宜蓉; | 書刊名 | 小說與戲劇 |
| 卷 期 | 22:2 2013.07[民102.07] |
| 頁 次 | 頁1-25 |
| 分類號 | 874.55 |
| 關鍵詞 | 恩斯樂; 女性身體; 滑稽模仿; 女性怪誕; 顛覆; Ensler; The female body; Parody; The female grotesque; Subversion; |
| 語 文 | 英文(English) |
| 中文摘要 | 女性身體所受的遭遇對伊娃、恩斯樂 (Eve Ensler) 而言一直是個中心議題，她眾多著作都質疑壓抑女性身體的表現，同時也探求可解放女性身體的取代觀點，這尤其從《陰道獨白》(2010)、《好身體》(2010)、和 V-Day全球性停止女性暴力運動中可一見端倪。自從傅柯 (Foucault) 的《紀律與處罰》(1979) 論述身體為展現權力的場域以來，身體就被認為是意識型態和社會規範的兵家之地。在《陰道獨白》和《好身體》中，伊娃、恩斯樂試圖打破壓制女性的性別記號和生理規範，並以尊敬與肯定女性身體存在的觀點取代之。在恩斯樂的處理下，女性身體不僅是意識型態的表現，而更重要地，亦可成為建立女性認同及意識的開始。 在《陰道獨白》和《好身體》中，伊娃、恩斯樂嘗試重新展現女性身體，同時挑戰並顛覆傳統父權社會裡常隱藏或縮小女性身體的描繪。恩斯樂採滑稽模仿和女性怪誕的策略來重新定義觀察女性身體的詮譯立場。恩斯樂在文本中特意滑稽地模仿令人嫌惡的女性，也利用荒誕不羈的女性怪誕描繪，不僅製造笑果且挑明要冒犯體制，挑戰對女性身體嚴格監督的父權規範。 在瓦解了壓制女性身體的觀點後，恩斯樂以肯定女性、醜化還原、和安居女性身體的開展潛力等正面觀點取代之。恩斯樂對女性身體的重新展現成功地將父權社會掌握的女性定義及詮釋權取回，交由女性自主掌握。 |
| 英文摘要 | The treatment of women’s bodies has been a central concern for Eve Ensler as can be seen in many of her works that not only question widely-received repressive representations of the female body but also explore alternative liberating ones, especially her two plays The Vagina Monologues (1998), The Good Body (2004), and the V-Day campaign, a global movement to stop violence against women.1 The body has been regarded as a contested site of ideologies and social regulations since Michel Foucault’s Discipline and Punish (1979) showed how the body serves to manifest the immanent authority of the powers that be. And the female body, as Judith Butler has famously argued, is inscribed with gender codes that create an intelligibility of power matrices through repetition and reproduction of behavioral guidelines (Butler 30). Discipline of the female body in turn also contributes to the consolidation of patriarchal dominance as biological regulations work insidiously and are often taken for granted as natural physical conditions, thus bypassing conscious human cognition and rendering it nearly impossible to recognize or identify ideological manipulations. In The Vagina Monologues and The Good Body, Ensler toys with the idea of re-presenting female bodies to challenge and subvert conventional patriarchal representations, which are often concealment and diminishing of the female body. Ensler deploys parody and the female grotesque in The Vagina Monologues and The Good Body to re-define the interpretational context in which to perceive the female body. Challenging conventional patriarchal disciplinary regimes which practice stringent surveillance and regulations on the female body, Ensler’s parodic representations of the abject woman and grotesque portrayals of the unruly chaotic woman confront repressive perceptions of the female body via laughter and blatant offence. Debunking repressive perceptions of the female body, Ensler fills the interpretational void with affirmative options which undo the vilification and open up possibilities of being at ease with the female body. Ensler’s re-presentations of the female body successfully wrecks the control of signification and interpretation from the patriarchal regime and gives it back to women on their own terms. |
本系統中英文摘要資訊取自各篇刊載內容。