This article investigates the critical potential of a contemporary dystopia, The Handmaid’s Tale (Miller 2017-), a U.S. television series adapted from a popular novel by Canadian author Margaret Atwood (1985). The text is widely understood as a feminist intervention that speaks to ongoing struggles against gender oppression, but in this article I consider the invitations that the show offers its viewers in treating race the way that it does, and consider what it means to refuse these invitations in pursuit of a critical feminist understanding of authority, legal subjectivity, and violence. Drawing on the recent turn to genre, my reading focuses on how whiteness is reproduced through this cinematic text and its inculcation of particular ways of seeing, modes of identification and attachment. The Handmaid’s Tale’s post-racial aesthetic means that its thematic engagement with gender, sexuality and resistance actively disavows national and international histories of racist state violence and white supremacy. Its problematic feminism is thus uniquely instructive for understanding how whiteness is reproduced in contemporary (neo)liberal configurations of legal subjectivity and state authority.

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再现白人：女权主义流派、法律主体性和女仆故事的后种族反乌托邦（2017-）

本文调查了当代反乌托邦的批判潜力，使女的故事（米勒 2017-），一部改编自加拿大作家玛格丽特·阿特伍德（Margaret Atwood，1985 年）的流行小说的美国电视连续剧。该文本被广泛理解为女权主义干预，它讲述了反对性别压迫的持续斗争，但在本文中，我考虑了该节目向观众提供的以它的方式对待种族的邀请，并考虑拒绝这些邀请意味着什么追求对权威、法律主体性和暴力的批判性女权主义理解。借鉴最近对流派的转向，我的阅读重点是如何通过这种电影文本再现白人，以及它对特定观看方式、识别模式和依恋模式的灌输。使女的故事的后种族美学意味着它对性别、性和抵抗的主题参与积极否认种族主义国家暴力和白人至上的国家和国际历史。因此，其有问题的女权主义对于理解白人如何在法律主体性和国家权威的当代（新）自由主义结构中复制具有独特的指导意义。