眾聲的狂歡烏托邦：《李爾王》的巴赫金式解讀
發(fā)布時(shí)間：2019-06-11 04:49
【摘要】：20世紀(jì)西方著名文藝?yán)碚摷野秃战鹪诳鐚W(xué)科研究的基礎(chǔ)上創(chuàng)立了巴赫金學(xué)說，其思想內(nèi)核可以概括成“對(duì)話主義”、“復(fù)調(diào)小說理論”和“狂歡化詩學(xué)”這三條精髓。復(fù)調(diào)理論是在《陀思妥耶夫斯基詩學(xué)問題》一書中最早提出的，它為解讀莎士比亞戲劇《李爾王》提供了新的批評(píng)視角。文藝復(fù)興時(shí)期的不朽名著《李爾王》，一直被視作文學(xué)史上最偉大的悲劇之一。然而，這部作品的語言藝術(shù)、文本建構(gòu)和精神蘊(yùn)涵處處充溢著對(duì)話關(guān)系、復(fù)調(diào)敘事和狂歡底色，它交織著多元聲音的合奏與對(duì)話,展現(xiàn)出巴赫金意義上的眾聲的狂歡交響曲。因此，這為我們?cè)囉冒秃战饘W(xué)說對(duì)莎劇《李爾王》進(jìn)行重新解讀提供了一個(gè)范本，借以探索復(fù)調(diào)狂歡化烏托邦的全新人類關(guān)系，，從而揭示戲劇背后蘊(yùn)藏的深遠(yuǎn)的社會(huì)意義。 本文旨在揭示李爾王意識(shí)中的“權(quán)威話語”與“乞丐話語”的雙重主體重疊、愛德蒙等人內(nèi)心“神性自我”與“權(quán)欲自我”的爭(zhēng)鋒；還從弄人視角來審視李爾王的一言一行；并邀請(qǐng)觀眾對(duì)劇作展開自由闡釋。筆者試圖展示李爾王的不同自我之間、李爾王與劇中人物之間、觀眾與觀眾、觀眾與作品之間形成的多重復(fù)調(diào)關(guān)系；還有對(duì)李爾王等人的加冕與脫冕，肯特伯爵那種富有莊諧體語言風(fēng)格的對(duì)話，李爾王、肯特的咒罵語中顯露出“物質(zhì)—肉體”的怪誕意象，預(yù)示著死亡與新生的更替等等情節(jié)，這些都是莎士比亞其他劇作所無法比擬的。因此，本文認(rèn)為,該劇本的語言和結(jié)構(gòu)呈現(xiàn)出鮮明多樣的復(fù)調(diào)敘事特征，共時(shí)對(duì)話的雙聲性、人物意識(shí)的多聲部性、對(duì)話的狂歡化性貫穿作品始終。綜上所述，各部分之間的“對(duì)話”豐富了文本的內(nèi)容，使整個(gè)故事充滿了張力。因此，本學(xué)位論文旨在探索作品本身折射出豐富的思想內(nèi)涵，也使得我們對(duì)戲劇中復(fù)調(diào)存在的可能性作了進(jìn)一步探討。 本文共分六章。第一章簡(jiǎn)要介紹莎士比亞生平、時(shí)代及其最具影響力的劇作《李爾王》，然后總結(jié)了中外文學(xué)批評(píng)界對(duì)這一作品的研究評(píng)論；第二章闡述了巴赫金的背景知識(shí)及其學(xué)術(shù)思想；第三章從“復(fù)調(diào)小說理論”角度探討了這一劇作中存在的共時(shí)性的“雙聲語”對(duì)話現(xiàn)象；第四章從“對(duì)話主義”視角關(guān)注戲劇中人物的多聲部意識(shí)；第五章依據(jù)“狂歡化詩學(xué)”探索了劇本出現(xiàn)的狂歡化時(shí)空中的廣場(chǎng)語言和復(fù)調(diào)對(duì)話；第六章得出結(jié)論：這部戲劇中的各種人物在各個(gè)層面、各類關(guān)系之中以多種方式所進(jìn)行的復(fù)調(diào)狂歡化對(duì)話，為我們唱響了一曲莎士比亞時(shí)代英格蘭社會(huì)歡歌，也有助于我們建構(gòu)烏托邦理想和重建人類文明。
[Abstract]:Bachtin, a famous western literary theorist in the 20th century, founded Bachtin's theory on the basis of interdisciplinary research. the core of his thought can be summarized as three quintessence: "dialogism", "polyphonic novel theory" and "carnival poetics". Polyphonic theory was first put forward in Dostoevsky's Poetics, which provides a new critical perspective for the interpretation of Shakespeare's play King Lear. King Lear, an immortal masterpiece of the Renaissance, has always been regarded as one of the greatest tragedies in the history of literature. However, the language art, text construction and spiritual implication of this work are filled with dialogue, polyphonic narration and carnival background everywhere. It is intertwined with the ensemble and dialogue of multiple voices, showing the Carnival symphony of all voices in Bachkin's sense. Therefore, this provides a model for us to re-interpret Shakespeare's King Lear by using Bachkin's theory, so as to explore the new human relationship of polyphonic carnival utopia, so as to reveal the far-reaching social significance behind the drama. The purpose of this paper is to reveal the overlap between "authoritative discourse" and "beggar discourse" in King Lear's consciousness, the struggle between "divine self" and "power desire self" in the heart of Edmond et al., and to examine King Lear's words and deeds from the perspective of making people. And invite the audience to carry out free interpretation of the play. The author attempts to show the repeated relationship between King Lear and the characters in the play, between the audience and the audience, and between the audience and the works. There is also the coronation and removal of the crown of King Lear and others, the dialogue of the count of Kent in the style of Zhuang and harmonious language, and the grotesque image of "material-body" in the curses of King Lear and Kent, which foreshadowed the plot of death and the replacement of new life, and so on. These are incomparable to Shakespeare's other plays. Therefore, this paper holds that the language and structure of the play show distinct and diverse polyphonic narrative characteristics, the double tone of synchronic dialogue, the multivocal nature of character consciousness, and the carnival of dialogue throughout the work. To sum up, the dialogue between the various parts enriches the content of the text and makes the whole story full of tension. Therefore, the purpose of this dissertation is to explore the rich ideological connotation of the work itself, and to further explore the possibility of polyphonic existence in drama. This paper is divided into six chapters. The first chapter briefly introduces Shakespeare's life, the times and his most influential play, King Lear, and then summarizes the research comments on this work by Chinese and foreign literary critics. The second chapter expounds Bachkin's background knowledge and academic thought. The third chapter discusses the synchronic "double language" dialogue phenomenon in this play from the perspective of "polyphonic novel theory", the fourth chapter pays attention to the multi-tone consciousness of the characters in the drama from the perspective of "dialogism", and discusses the synchronic "double language" dialogue phenomenon in this play from the perspective of "polyphonic novel theory". The fifth chapter explores the square language and polyphonic dialogue in carnival time and space according to Carnival Poetics. The sixth chapter draws the conclusion that the polyphonic carnival dialogue between the various characters in this play at all levels and in various relationships sings a song of English society in Shakespeare's time. It also helps us to construct utopian ideals and reconstruct human civilization.
【學(xué)位授予單位】：合肥工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I561.073
本文編號(hào)：2497023
[Abstract]:Bachtin, a famous western literary theorist in the 20th century, founded Bachtin's theory on the basis of interdisciplinary research. the core of his thought can be summarized as three quintessence: "dialogism", "polyphonic novel theory" and "carnival poetics". Polyphonic theory was first put forward in Dostoevsky's Poetics, which provides a new critical perspective for the interpretation of Shakespeare's play King Lear. King Lear, an immortal masterpiece of the Renaissance, has always been regarded as one of the greatest tragedies in the history of literature. However, the language art, text construction and spiritual implication of this work are filled with dialogue, polyphonic narration and carnival background everywhere. It is intertwined with the ensemble and dialogue of multiple voices, showing the Carnival symphony of all voices in Bachkin's sense. Therefore, this provides a model for us to re-interpret Shakespeare's King Lear by using Bachkin's theory, so as to explore the new human relationship of polyphonic carnival utopia, so as to reveal the far-reaching social significance behind the drama. The purpose of this paper is to reveal the overlap between "authoritative discourse" and "beggar discourse" in King Lear's consciousness, the struggle between "divine self" and "power desire self" in the heart of Edmond et al., and to examine King Lear's words and deeds from the perspective of making people. And invite the audience to carry out free interpretation of the play. The author attempts to show the repeated relationship between King Lear and the characters in the play, between the audience and the audience, and between the audience and the works. There is also the coronation and removal of the crown of King Lear and others, the dialogue of the count of Kent in the style of Zhuang and harmonious language, and the grotesque image of "material-body" in the curses of King Lear and Kent, which foreshadowed the plot of death and the replacement of new life, and so on. These are incomparable to Shakespeare's other plays. Therefore, this paper holds that the language and structure of the play show distinct and diverse polyphonic narrative characteristics, the double tone of synchronic dialogue, the multivocal nature of character consciousness, and the carnival of dialogue throughout the work. To sum up, the dialogue between the various parts enriches the content of the text and makes the whole story full of tension. Therefore, the purpose of this dissertation is to explore the rich ideological connotation of the work itself, and to further explore the possibility of polyphonic existence in drama. This paper is divided into six chapters. The first chapter briefly introduces Shakespeare's life, the times and his most influential play, King Lear, and then summarizes the research comments on this work by Chinese and foreign literary critics. The second chapter expounds Bachkin's background knowledge and academic thought. The third chapter discusses the synchronic "double language" dialogue phenomenon in this play from the perspective of "polyphonic novel theory", the fourth chapter pays attention to the multi-tone consciousness of the characters in the drama from the perspective of "dialogism", and discusses the synchronic "double language" dialogue phenomenon in this play from the perspective of "polyphonic novel theory". The fifth chapter explores the square language and polyphonic dialogue in carnival time and space according to Carnival Poetics. The sixth chapter draws the conclusion that the polyphonic carnival dialogue between the various characters in this play at all levels and in various relationships sings a song of English society in Shakespeare's time. It also helps us to construct utopian ideals and reconstruct human civilization.
【學(xué)位授予單位】：合肥工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I561.073
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本文編號(hào)：2497023
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