父权制对女性的压迫——从女性主义视角解读莉莲·海尔曼的《小狐狸》.pdfVIP

Abstract Like other literary genres, drama is in a constant state, forever working to mirror human conditions in a certain cultural surrounding, which finds a convincing proof in the progression of the American drama. A retrospect on the first twenty years of the 20th century can find that female writers were in a marginalized position or even invisible while male playwrights occupied the center stage of American drama. However, since the 1930s, with the constantly changing and intensifying roles of women in society, women playwrights have sent out an important and contributive voice in American theatre. Their extraordinary productions signify a new thrust in the dramatic world, which earns a special concern on women. In the 1960s, the second wave of feminism encourages much more women playwrights to have a spectacular emergence. Their literary creations highlight their female experiences and show their special concerns on the reality of female existence. Among them, Lillian Hellman is a prominent representative to present her classic creations in which women are the main characters, which has influenced and invigorated the field of American drama. Lillian Hellman (1905-1984) is one of the most important American women dramatists from the first half of the twentieth century. She produced many respected plays in a long period covering three decades from the 1930s to 1960s. As a woman playwright who frustrated many in her dramatic career because of her gender, Hellman necessarily gave great attention to the feminist movement and formed her own views about it. All of these