次等人的表演行为:Mahasweta Devi《Draupadi》中次等人反抗的后殖民形象

Aftab Ur Rahaman Zahin
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引用次数: 2

摘要

本文试图评价Mahasweta Devi在故事《Draupadi》中所描绘的对种族和性别次等性的反抗。Mahasweta Devi通过在戏剧和非戏剧情境中拒绝性别表演行为,描绘了一个抵抗多层次等性的人物。这个故事,Draupadi,挑战了传统的以生殖器为中心的性别低下的表现和对边缘种族的殖民统治,通过角色的构建,Dopdi Mejhen(或Draupadi),一个年轻的桑塔尔寡妇,为她部落的社会经济自由而战,在极端的身体压迫之后,她赤裸地站在那里,暴露她沾满血迹的身体,反抗压迫的殖民者。抗议对她的身体和族群的父权和殖民统治。根据阶级、种姓和性别,她处于次等地位;而是通过不合作抵抗将自己从次等性中解放出来。本文运用古哈(Ranajit Guha)和斯皮瓦克(Chakravorty Spivak)的“次等性”理论,揭示了抵抗运动的多层次次等性和智力定位;以及朱迪思·巴特勒的“性别表演性”理论来评价性别次等性的抵抗。本研究证明,对殖民统治和次等性的征服抵抗是反对统治精英主义的非合作运动、在戏剧和非戏剧语境中对性别表演行为的拒绝、反对种族代表性的激进立场、破坏基本规范的存在主义策略和统治的行政殖民权力的结果。
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Performative Act of the Subaltern: A Postcolonial Figure of Subaltern Resistance in Mahasweta Devi’s Draupadi
This paper attempts to evaluate the resistance to the ethnic and gender subalternity portrayed by Mahasweta Devi n the story, Draupadi. Mahasweta Devi portrays a figure of resistance to the multi-layered subalternity through the rejection of gender performative acts in both theatrical and non-theatrical contexts of subaltern. The story, Draupadi, challenges the conventional phallocentric representation of gender subalterns and colonial domination over marginalized ethnicity through the construction of the character, Dopdi Mejhen (or Draupadi), a young Santal widow, fighting for the socioeconomic freedom of her tribe, who radically stands naked exposing her blood spotted body against the oppressive colonizer after extreme physical oppression, to protest the patriarchal and colonial domination over her body and ethnic community. She is subaltern by her class, caste and gender; but liberates herself from subalternity through non-cooperation resistance. This paper applies the theory of ‘subalternity’ of Ranajit Guha and Chakravorty Spivak to bring out the aspects of multi-layered subalternity and intellectual location of the resistance; and theory of ‘gender performativity’ of Judith Butler to evaluate the resistance of gender subalternity. This research proves that the conquering resistance to the colonial domination and subalternity is the result of the non-cooperative movement against dominant elitism, rejection of gender performative acts in both theatrical and nontheatrical contexts, radical stand against ethnic representation, existential tactic to disrupt the essential codes and dominant administrative colonial power.
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