瑪莎·諾曼是當代美國戲劇界重要的劇 作家，她的《晚安，母親》（'night Mother） 一劇榮獲1983年的普利策戲劇獎，后以音 樂劇《秘密花園》（The Secret Garden）獲得 了1992年的托尼獎。王莉編著的《論瑪莎·諾曼戲劇 中的過去和記憶》旨在對以往諾曼 研究中忽視的一個普遍而又重要的主題 “過去和記憶”，從戲劇呈現(xiàn)的角度入 手，進行多方位的剖析，并比較在不同作 品中的不同景象。本書既注重內(nèi)容，也對 戲劇呈現(xiàn)作了深入的挖掘，是一部富有獨 到見解的學術(shù)力作。
當代美國劇作家瑪莎·諾曼（1947～）的戲劇富有濃厚的悲劇色彩，以對人物內(nèi)心世界的深刻剖析被學界廣泛關(guān)注。然而，她戲劇中對過去和記憶的凸顯卻未能給與充分的探討。因此，王莉編著的《論瑪莎·諾曼戲劇中的過去和記憶》分析了諾曼戲劇中的創(chuàng)傷性過去、讓人渴望的過去以及虛構(gòu)的過去等三種過去，以及對這些不同性質(zhì)的過去和記憶的戲劇呈現(xiàn)。劇中人物對不同的過去和記憶采取的態(tài)度和做出的行動表達了諾曼對人如何生存的哲學性思考。
Introduction
Chapter One
Repression to Reconciliation： Coming to Terms with the
Traumatic Past
1. Embodying the Traumatic Memories of Victimization in
Getting Out
2. Recalling the Traumatic Memory of Maternal Loss in
Traveler in the Dark
Chapter Two
Nostalgia to Disillusionment： Mourning the Wistful Past
1. Lamenting Loss of Marriage and Friendship in
Third and Oak
2. Mourning the Western Outlaw Era in The Holdup
3. Deromanticizing the Frontier Hero in Loving Daniel
Boone
Chapter Three
Avoidance to Confrontation： Making Sense of the Fictional Past
1. Unearthing a Past with No Self-control in 'night， Mother
2. Piercing the Net of the Imaginary Past in Trudy Blue
Conclusion
Works Cited
Postscript
WithoutsayinggoodbyetoArlie/ArlenewhohadconvertedtoChristianity，thechaplaintransferredtoanotherprison.Feelingagaindeserted，Arlie/Arleneraisedhellintheprison.UsingtheforkwhichherinmateDorishadstolenfromthekitchen，Arlieperformedasacrificewhichalmostkilledher.Itisironicthatthelife-sustainingtoolistransformedintoaself-destructiveweapon.However，becauseofthechaplain'sinculcation，inArlene'smind，killingthealienobjectwhichisrepresentedbyherownbodyisanactofselfpreservation.InGretchenCline'swords，thechaplaincommits“ametaphoricalrapethatsplitherpsyche”.
Aftersymbolically“killing”herOtherArlie，Arleneledalmostananesthetizedlifethroughnumbingherselftotheenvironment“jus'donemyworkanknit...anIdon'tthinkaboutit，whathappened”(CollectedWorks55).Arlenetookupthetraditional，gender-stereotypedrolesprescribedbythepatriarchalsociety.RejectingArlie'sdestructivetendency，Arlenebecameamodelprisonerwhohasgraspedseveralskills，suchasknittingandhairdressingwhichwereconsideredasmustsfortraditionalwomen.Nevertheless，ironically，theskillscannotbeputintopracticeoutofprisonbecauseoftherestrictionsimposeduponex-convictsbythelocallegislation.
Arlene'spastasembodiedbyArlieisahistoryoffemalevictimization.Definedingenderspecifictermsandsexuallyexploited，Arliedisplayedantisocialbehaviors.However，theresistantattitudeonlymadeherlifeworse.Tosurviveinsuchasexistsocialorder，shehadtoeradicateher'evil'selfandadopttheculturallyprescribedrolesforwomen，whichrenderthempassive，voiceless，andmostimportantly，obedient.Notwithstandingthatsheintendstorepressthememoriesofthepastwhichareenactedbyherpastself，thetraumaticpastkeepscomingout，thuscausinghersplitposition.Thetensionbetweenthepastandthepresentisthetensionbetweenthesavageselfandtheconformingone.Acceptingandintegratingthepastselfintothepresentoneisofparamountimportanceforherfuturelifeoutsidetheprison.
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