Contradictory Aspects of Madonna : De/Centering Femininity in Early English Drama

在《圣经》中，圣母玛利亚既是基督的母亲，又是妓女，圣母玛利亚的双重属性(即在性爱的同时表现为慈善的象征，在性放纵而不生育的同时表现为非肉体的丰收)展示了男性中心文化环境中关于女性“价值”的两个极端。同样的道德极端自相矛盾地促进了女性气质的去中心化--就像哈姆雷特王子在与奥菲莉亚谈论女性美丽和贞洁时所说的那样。这一悖论可以追溯到浪漫主义喜剧的惯例中，在这一习俗中，主人公必须感动他的女人的心，而她的美德只有通过不动才能得到保证。《罗曼蒂克》的这种矛盾性质逐渐延伸为文明的兴起和封建主义的衰落的征兆。通过仔细阅读关于电子文本或传真的非规范作品，《简·肖尔》一集中的道德发展(缺乏)展示了浪漫暴力的世俗化，作为男性(狡猾地，女性)欲望实现愿望的手段，而不是这样的女性受害者从不祥的二分法中解放出来，甚至在20世纪末。

Symbolically shown in the Bible with the name of Maria as both the mother of Christ and as the prostitute, the double nature of Madonna (i.e., represented as the symbol of Charity at the same time of sexual license, of non-carnal fruitfulness at the same time of sexual indulgence without procreation) shows the two extremities concerning female "value" in male-centered cultural milieu. The same moral extremities paradoxically promote de-centering of femininity-just as prince Hamlet remarks during his conversation with Ophelia on female beauty and chastity. This paradox can be traced in the convention of Romantic Comedy in which a protagonist must move the heart of his lady whose virtue should only be guaranteed by not moving. Such a contradictory nature of Romance is gradually extended as a symptom of the rise of civilization and the fall of feudalism. Through close readings of non-canonical works on electrical texts or facsimiles, the (lack of) moral development in the episode of Jane Shore shows the secularization of romantic violence as a means of wish-fulfillment in male (and cunningly, female) desire, instead of such female victims' liberation from the ominous dichotomy, even at the end of 20th century.