本文選題：死亡主題　切入點(diǎn)：古希臘悲劇　出處：《河南科技大學(xué)》2009年碩士論文　論文類型：學(xué)位論文

【摘要】：西方文學(xué)的源頭是古希臘悲劇,到了文藝復(fù)興時(shí)期,西方悲劇達(dá)到了第二個(gè)發(fā)展高潮,此時(shí)莎士比亞是個(gè)成功的承接。西方悲劇在17世紀(jì)和18世紀(jì)分別經(jīng)歷了古典主義和歐洲啟蒙運(yùn)動(dòng)的發(fā)展,并在19世紀(jì)產(chǎn)生了悲劇人物形象理論。到了20世紀(jì),西方悲劇形成了馬克思、恩格斯的悲劇人物形象理論。 本文將從東西方文學(xué)作品中選取三個(gè)典型悲劇女性:莎士比亞的戲劇《羅密歐與朱麗葉》中的朱麗葉,尤金·奧尼爾的戲劇《悲悼》中的克里斯汀,及曹禺的話劇《雷雨》中的繁漪。這三個(gè)研究對(duì)象是我深思熟慮和細(xì)致篩選的結(jié)果。首先,這三個(gè)研究對(duì)象均是女性�？v觀歷史,女性在社會(huì)上一直被賦予不尋常的地位,她們的起伏在某種程度上反映了其所處環(huán)境中的社會(huì)和文化習(xí)俗。其次,這三個(gè)對(duì)象均是人們耳熟能詳?shù)呐�。她們的存在并不是孤立的個(gè)案,而是同時(shí)期眾多女性中所涌現(xiàn)的典型形象,所以分析和研究她們,具有積極的社會(huì)意義。第三,在文學(xué)批評(píng)中,對(duì)于女性形象的研究向來受到推崇,而這三個(gè)對(duì)象的生存狀態(tài),作為當(dāng)時(shí)社會(huì)的一種微觀反映,本身就見證了已逝的歷史并預(yù)見了未來。最后,作為一名女學(xué)生,我能夠從女性角度更好地理解這三個(gè)對(duì)象,從而更好地理解作者在劇本中的場(chǎng)景設(shè)置。 本文分為六部分。緒論部分簡(jiǎn)單介紹比較文學(xué)及其在本文中的應(yīng)用,并解釋選擇研究對(duì)象的依據(jù)。正文第一部分研究死亡主題和古希臘悲劇,分別討論死亡主題與酒神精神的關(guān)系及其在社會(huì)生活中的表現(xiàn)。正文第二部分研究文藝復(fù)興時(shí)期的悲劇理論,著重探討古希臘悲劇精神在文藝復(fù)興時(shí)期的延續(xù),在朱麗葉身上的體現(xiàn),并如何通過她進(jìn)行傳承。正文第三部分比較研究朱麗葉,克里斯汀和繁漪。通過個(gè)人、社會(huì)因素及二者的沖突三個(gè)方面展現(xiàn)選擇這三個(gè)研究對(duì)象的必要性和意義。朱麗葉是西方悲劇和反抗意識(shí)的集中體現(xiàn),從朱麗葉引出中西文學(xué)的兩條線,把克里斯汀和繁漪當(dāng)作這種文學(xué)傳統(tǒng)的典型。她們二者和朱麗葉的命運(yùn)結(jié)局相似,同樣帶給讀者濃厚的悲劇沖擊和感受。正文第四部分研究死亡主題在這三個(gè)對(duì)象身上的體現(xiàn)。酒神精神在這三個(gè)對(duì)象身上均有表現(xiàn);同時(shí),通過精神分析理論,可以在這三者身上找到戀父、戀母情結(jié)的作用力。第六部分為結(jié)論,指出:悲劇理論歷經(jīng)發(fā)展變化,悲劇意識(shí)的表現(xiàn)形式復(fù)雜多樣,悲劇中人物的死亡原因錯(cuò)綜復(fù)雜,甚至連死亡形式都發(fā)生了改變,但是悲劇的死亡主題及其張力還是一脈相承的。
[Abstract]:The source of western literature is the tragedy of ancient Greece. By the Renaissance, the western tragedy reached its second climax. In 17th century and 18th century, respectively, Western tragedies experienced the development of classicism and the European Enlightenment, and the theory of tragic characters came into being in 19th century. Western tragedies formed Marx and Engels' theory of tragic characters. This article will choose three typical tragic women from the works of Eastern and Western Literature: Juliet in Shakespeare's play Romeo and Juliet, and Christine in Eugene O'Neill 's Drama "mourning". And Fan Yi in Cao Yu's drama thunderstorm. These three research subjects were the result of my careful consideration and careful screening. First of all, these three subjects were all women. Throughout history, women have been given unusual status in society. Their ups and downs reflect, to some extent, the social and cultural customs of their environment. Secondly, these three objects are familiar women. Their existence is not an isolated case. It is a typical image of many women in the same period, so it is of positive social significance to analyze and study them. Third, in literary criticism, the study of female image has always been respected, and the living state of these three objects, As a microcosmic reflection of the society at the time, I witnessed the past and foresaw the future. Finally, as a female student, I was able to better understand these three objects from a female perspective. In order to better understand the author in the script of the scene settings. This paper is divided into six parts. The introduction introduces comparative literature and its application in this paper, and explains the basis for choosing the object of study. The first part of the text studies the theme of death and the tragedy of ancient Greece. This paper discusses the relationship between the theme of death and the spirit of Dionysus and its manifestation in social life. The second part of the text studies the theory of tragedy in the Renaissance period, focusing on the continuation of the tragic spirit of ancient Greece in the Renaissance period. The embodiment in Juliet, and how to pass on through her. The third part of the text comparative study of Juliet, Christine and Fanyi. Through the individual, Social factors and their conflicts reveal the necessity and significance of choosing these three objects of study. Juliet is a concentrated embodiment of western tragedy and consciousness of resistance, leading to two lines of Chinese and Western literature from Juliet. Kristen and Fanyi are typical of this literary tradition. They share the same fate as Juliet. The 4th part of the text studies the embodiment of the theme of death in these three objects. The spirit of Dionysus is manifested in these three objects. At the same time, through the theory of psychoanalysis, We can find the force of love for father and mother in these three parts. 6th is the conclusion. It points out that the tragic theory has gone through the development and change, the forms of tragic consciousness are complicated and the causes of death of the characters in tragedy are complicated. Even the form of death has changed, but the tragic theme of death and its tension are in the same vein.
【學(xué)位授予單位】：河南科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：I0-03;I106.3

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相關(guān)期刊論文 前1條

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本文編號(hào)：1611340