ABSTRACT The paper considers the cultural exploitation of bears, especially white ones, from the late sixteenth century to the present, both in drama and literary fiction and in the bear pits, theatres, circuses, zoos, and natural habitats in which real biological bears have found themselves mythologized and marketed. Beginning and ending with Bryndís Snæbjörnsdóttir and Mark Wilson’s art project nanoq: flat out and bluesome (2006), the argument explores the use and abuse of fictive and real white bears in the changing contexts of Elizabethan and Jacobean politics and performance history, eighteenth and nineteenth century colonialism, and present day anxieties about habitat degradation and global warming, and also in the light of the perennial and “almost inescapable anthropomorphism” which, as Snæbjörnsdóttir and Wilson point out, causes us to see the bear as “a potent symbol” rather than a creature with its own life experience and autonomy. In addition to nanoq: flat out and bluesome, which attempts to break its audience out of that mind-set by confronting them with the mortal remains and individual histories of 34 taxidermic bears, the paper discusses George Peele’s The Old Wives Tale (c. 1594), the anonymous 1590s play Mucedorus, Ben Jonson’s masque Oberon, the Fairy Prince (1611), Laurence Sterne’s Tristram Shandy (1760), Robert Bage’s Jacobin novel Hermsprong (1796), James Hogg’s novella The Surpassing Adventures of Allan Gordon (1834), Philip Pullman’s Northern Lights (1995), Yoko Tawada’s Memoirs of a Polar Bear (2016), and Martin Rowe’s The Polar Bear in the Zoo (2013).

中文翻译：

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挤奶工熊与野蛮伙伴：伊丽莎白时代至今对真实与虚构白熊的文化剥削

摘要 本文考虑了从 16 世纪晚期到现在，在戏剧和文学小说以及熊坑、剧院、马戏团、动物园和自然栖息地中对熊，尤其是白熊的文化剥削，真正的生物熊在其中发现自己被神话化和营销。以 Bryndís Snæbjörnsdóttir 和 Mark Wilson 的艺术项目 nanoq: flat out and bluesome (2006) 开始和结束，该论点探讨了在伊丽莎白时代和詹姆士时代政治和表演历史不断变化的背景下，虚构和真实白熊的使用和滥用，第十八和第十九世纪殖民主义，以及当今对栖息地退化和全球变暖的焦虑，以及正如 Snæbjörnsdóttir 和 Wilson 指出的那样，考虑到常年和“几乎不可避免的拟人化”，使我们将熊视为“有力的象征”，而不是拥有自己的生活经验和自主权的生物。除了 nanoq: flat out and bluesome，它试图通过让观众面对 34 只动物标本剥制熊的遗骸和个人历史来打破他们的思维定势，这篇论文还讨论了乔治皮尔的《老太太的故事》（约 1594 年） )，1590 年代无名剧目 Mucedorus，本·琼森 (Ben Jonson) 的假面舞会奥伯伦 (Oberon)，仙女王子 (1611)，劳伦斯·斯特恩 (Laurence Sterne) 的《崔斯特瑞姆·香迪 (Tristram Shandy)》(1760)，罗伯特·贝奇 (Robert Bage) 的雅各宾小说《赫姆斯普朗 (Hermsprong)》(1796)，詹姆斯·霍格 (James Hogg) 的中篇小说《艾伦·戈登历险记 (The Surpassing Adventures of Allandon)》(1834)菲利普·普尔曼的《北极光》（1995 年）、田和田洋子的《北极熊回忆录》（2016 年）和马丁·罗的《动物园里的北极熊》（2013 年）。