Lillian Hellman’s four domestic plays portray recurring female images presented in heterosexuality, marriage and motherhood, three institutionalizing efforts of stabilizing and strengthening the family as a fundamental social institution. Hellman, through the subversive effort breathed into her female characters, has consciously and wittily expressed to her con-temporary audience her bold wishes of realizing female subjectivity through women’s smashing and emancipating from the shackles of the imposed institutions. However, Hellman’s proposed solutions for female entrapment end with freedom from the patriarchal bandages, but with no further strategies for constructive relational identities.%美国剧作家莉莲•海尔曼戏剧《儿童时代》、《小狐狸》、《丛林深处》和《阁楼玩偶》等，作为第二次女性主义浪潮的前奏，关注女性在面临异性恋制度、婚姻制度和母职制度等父权禁锢时的抗争，展现了海尔曼对父权制度下女性主体性建构的构想。同时，海尔曼笔下获得独立自我的女性却仍然深陷孤独，体现了海尔曼对于建构完整和谐女性主体性深感迷茫。
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