ABSTRACT This paper analyzes the significance of appropriating three plays by William Shakespeare—Macbeth (1606), Romeo and Juliet (1597), and Othello (1604)—in Samar Attar’s Lina: A Portrait of a Damascene Girl. The Syrian novelist, Attar, finds in Shakespeare powerful sites for the expression of exile, rejection of sentimental love, and resistance of patriarchy in Arab societies. Attar’s reading of Shakespeare is both constructive and deconstructive. Her novel shows simultaneously identification with and challenges to the British Bard. The main female protagonist, Lina, renounces Shakespeare’s dramatization of the concept of love in Romeo and Juliet and Othello, which requires the female submission to the authority of the male lover. In Macbeth, Attar identifies with its concepts of exile and homeland when one’s country becomes polluted by political conspiracies and chaos. Lina, in Attar’s novel, is a new Arab Desdemona/Juliet, who is subversive and revolutionary to the atrocities of gender marginalization.

中文翻译：

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她不是苔丝狄蒙娜：萨马尔·阿塔尔莎士比亚颠覆中的叙利亚女人

摘要 本文分析了萨玛·阿塔尔 (Samar Attar) 的《丽娜：大马士革女孩的画像》中挪用威廉·莎士比亚 (Macbeth) (1606)、罗密欧与朱丽叶 (1597) 和奥赛罗 (1604) 的三部戏剧的意义。叙利亚小说家阿塔尔 (Attar) 在莎士比亚的作品中发现了表达流放、拒绝多愁善感的爱和反对阿拉伯社会父权制的有力场所。阿塔尔对莎士比亚的解读既是建设性的，也是解构性的。她的小说同时表现出对英国吟游诗人的认同和挑战。女主莉娜摒弃了莎士比亚在罗密欧与朱丽叶和奥赛罗中对爱情概念的戏剧化，要求女性服从男性情人的权威。在麦克白，当一个国家被政治阴谋和混乱所污染时，Attar 认同其流亡和家园的概念。在阿塔尔的小说中，莉娜是一个新的阿拉伯苔丝狄蒙娜/朱丽叶，她对性别边缘化的暴行具有颠覆性和革命性。