英文摘要 |
Throughout the eighteenth and nineteenth century, most critics read The Tempest as a complex allegory in which a series of binary opposites such as nature and culture compete for supremacy. On the subject of Miranda, the early critics either were silent or merely regarded her as an emblem of beauty and ideal womanliness. In more recent readings, post-colonial interpretation dominated, focusing on Prospero and the indigenous Caliban, Sycorax, and Ariel. The role of Miranda as the “perfect” woman has long been taken for granted and thus ironically fades into nothing more than a “bright shadow” in some major interpretations. In this essay, I reposition Miranda as a central character and argue that the role of Miranda as the “perfect” woman has not only been created by Shakespeare but been conditioned beyond the text by social, racial and gender politics that presume “female imperfection.” Such a role as the “perfect” woman under patriarchal domination has significantly influenced Miranda’s formulation or even misconception of gender and identity. This essay hence undertakes a comparative deconstruction of Miranda’s body, which has been constructed as a “transcendental myth” (Dolan 96) in the Renaissance historical context, modern critical interpretation, visual art, and theatrical performance. |