温迪·华瑟斯汀女性意识喜剧研究（英文版）

　　本书从喜剧的视角考察了华瑟斯汀各阶段的戏剧创作，试图阐释两个核心问题：她如何利用喜剧在当代戏剧舞台上呈现女性问题，以及喜剧这一类型本身蕴涵的精神内核又如何影响作家对女性主义的理解和批判。全书通过对其反映“两性之战”主题的代表作的分析，论述了华瑟斯汀采用的插曲式喜剧结构的特点及意义，研究了华瑟斯汀对当代美国女性的舞台形塑，试图对华瑟斯汀的喜剧思想做一个系统梳理和总结。

　　陈琳 英语语言文学博士，南京邮电大学副教授，美国弗吉尼亚大学访问学者，江苏省比较文学学会理事。主要研究方向为古希腊戏剧、莎士比亚戏剧、美国现当代戏剧、戏剧理论、性别研究，曾在《外国文学评论》《国外文学》《外国文学》等核心期刊发表论文多篇，主持江苏省哲学社会科学基金项目“西方古典喜剧的身体研究”。

CONTENTSCONTENTS
Introduction
1Empowerment and Containment: Women in Western Male Comedy 
Tradition
1.1“Female Intrusion” and “Powerful” Women in Aristophanes 
Lysistrata
1.2Sexual Violation and Passive Women in Greek and Roman 
New Comedy
1.3Comedy of Romance and Unruly Women in Shakespeares 
The Taming of the Shrew and Much Ado About Nothing
1.4Irreconcilable Battle and New Women in Shaws Pygmalion 
and Wildes A Woman of No Importance
2Contest and Balance: Dialectical Structure of Wassersteins Comedies
2.1Teleological vs. Dialectical: Structure of Comedy
2.2Fantasy and Contest: Plot Structure of Uncommon Women
2.3A Balance of the Comic and the Serious: Emotional Structure 
in Uncommon Women
2.4Possibility and Hope: Romance and Ending in Uncommon 
Women
3Redefing Female Comic Identity: Wassersteins Comic Heroines as 
Survivors
3.1The Polemic on Comic Women
3.2Sympathetic Women in Uncommon Women and Isnt It 
Romantic
3.3Reflective Comic Heroine in The Heidi Chronicles
3.4Women Survivors in The Sisters Rosensweig
4Feminism in Comic Spirit: Comic Construction of Self in Wassersteins 
Plays
4.1The Tragic Self on Feminist Stage
4.2Split and Reconciliation in Uncommon Women and Isnt It 
Romantic
4.3Feminism in Comic Spirit in The Heidi Chronicles
4.4Coming to Terms with the Self in The Sisters Rosensweig and 
Third
5Conclusion