威廉·薩默塞特·毛姆(William Somerset Maugham,1874-1965)是英國(guó)二十世紀(jì)優(yōu)秀的小說(shuō)家和劇作家�！秳≡猴L(fēng)情》(Theatre,1937)是他唯一一部有關(guān)戲劇的小說(shuō)。小說(shuō)中故事發(fā)生在二戰(zhàn)前的英國(guó)社會(huì),女演員朱莉婭不僅在戲劇舞臺(tái)上表演,在日常生活中也時(shí)常進(jìn)行“表演”。國(guó)內(nèi)研究者主要探討了小說(shuō)中的自由主題,國(guó)外學(xué)者對(duì)這部小說(shuō)的研究則多集中于意識(shí)流問(wèn)題、語(yǔ)言功能、娛樂(lè)功能等主題上,而結(jié)合社會(huì)學(xué)理論來(lái)探討小說(shuō)中“自我表演”主題的研究并不多。歐文·戈夫曼(Erving Goffman,1922-1982)是美國(guó)著名的社會(huì)學(xué)家,他提出的擬劇理論對(duì)文學(xué)研究具有一定的借鑒意義。戈夫曼認(rèn)為,生活猶如戲劇表演,個(gè)體在自身行為中注入各種符號(hào)以符合他人的期待�！白晕摇碑a(chǎn)生于個(gè)體及整個(gè)表演場(chǎng)景,是表演及其戲劇場(chǎng)景的產(chǎn)物�！白晕冶硌荨奔磦�(gè)體為達(dá)到自身目的而在特定場(chǎng)合進(jìn)行的(表演)活動(dòng),其活動(dòng)會(huì)對(duì)其他參與者產(chǎn)生影響。小說(shuō)中,朱莉婭為塑造并保持“良好形象”而時(shí)常在生活中“扮演”各種角色。隨著情感經(jīng)歷的豐富和演藝事業(yè)的發(fā)展,朱莉婭最終擺脫生活的羈絆,理性地對(duì)待生活。本文結(jié)合擬劇理論,基于當(dāng)...

【文章頁(yè)數(shù)】：65 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
摘要
Abstract
Introduction
    0.1 Critical Review of Maugham and His Theatre
    0.2 The Feasibility and Significance of the Research
    0.3 Theoretical Basis and Organization of the Contents
Chapter One Julia's Self-Performance as a Pursuer
    1.1 Hunting for Vanity
    1.2 Pursuit of Love
    1.3 Quest in Career
Chapter Two Julia's Self-Performance as a Controller
    2.1 Control over Love
    2.2 Dominance of Charles' Tenderness
    2.3 Mastery of Indecent Relationship with Tom
Chapter Three Julia's Self-Performance as a Judge
    3.1 Judgment of Michael's Selfless Giving
    3.2 Reconsideration on Charles' “Fool”
    3.3 Reflection on Transitory Relationship with Tom
Conclusion
Notes
Works Cited
Acknowledgements
Informative Abstract in Chinese
Résuméand Publications since Entering the Program



本文編號(hào)：3964861