【摘要】：疾病同生命的歷史一樣久遠(yuǎn),是個(gè)古老的話題。原始社會(huì)時(shí)期,疾病長期作為神的化身存在,代表著神靈對人的不滿和懲罰。隨著人們認(rèn)知世界能力的增強(qiáng),疾病的神秘性有所降低,然而,疾病的隱喻意義卻并未消失,而是隨著人們的認(rèn)識變遷而逐漸泛化,滲透到人類社會(huì)的各個(gè)領(lǐng)域。文學(xué)中的疾病從來就不會(huì)僅僅等同于醫(yī)學(xué)中所指的疾病,疾病的產(chǎn)生和發(fā)展被深深地打上了人類思維的印記,它的發(fā)展變遷與人類賴以生存的社會(huì)物質(zhì)文化相互關(guān)聯(lián),相互影響,變成了承載社會(huì)文明、文化的載體,反映出作家同時(shí)代的社會(huì)風(fēng)貌。近代以來,隨著戰(zhàn)爭的頻繁爆發(fā)、社會(huì)的轉(zhuǎn)型變遷,城市化的進(jìn)程,個(gè)人價(jià)值觀與社會(huì)價(jià)值觀之間的碰撞,個(gè)人與個(gè)人之間利益發(fā)生抵觸,滋生出越來越多的社會(huì)問題,給人們的心身造成難以愈合的傷痛。于是,作為現(xiàn)實(shí)生活的投射,疾病意象越來越多的出現(xiàn)在現(xiàn)代、后現(xiàn)代文學(xué)作品中,疾病既是作家詮釋世界、表達(dá)情感體驗(yàn)的工具,反之也是人們解讀社會(huì)風(fēng)貌及作家創(chuàng)作意識的一條通道。哈羅德·品特生長于二戰(zhàn)時(shí)期,歷經(jīng)社會(huì)的轉(zhuǎn)型動(dòng)蕩,作為猶太人后裔,他幼年時(shí)期便體驗(yàn)到了倫敦大轟炸等種種苦難,造成了他的心靈創(chuàng)傷及身份認(rèn)同。荒誕派劇作家通常使用隱喻的表達(dá)手法展示心中的情感體驗(yàn),既然品特被添列其中,那么以代表苦難的疾病的形式表達(dá)對社會(huì)的傷痛體驗(yàn)恰是水到渠成。疾病作為一種人生處境,與它存在的社會(huì)環(huán)境相互映襯。對疾病的關(guān)注體現(xiàn)了品特敏銳的觀察意識與觀察能力,對疾病的理解與體驗(yàn)滲透在他的大多數(shù)文學(xué)作品中,借助于承載著各種社會(huì)文化的疾病,品特成功地展現(xiàn)了同時(shí)代的社會(huì)歷史、政治、宗教等文化狀況,表達(dá)了自己對世界的認(rèn)識,展現(xiàn)了自己的人文主義思想。 疾病意識貫穿于品特的各類作品中,包括詩歌、散文和戲劇。然而,由于戲劇公認(rèn)為他最主要的成就,因而本文的研究也以他的戲劇作為主要研究對象。本文以醫(yī)學(xué)理論作為劃分基礎(chǔ),對品特戲劇中的疾病進(jìn)行了詳盡的梳理,并運(yùn)用了精神分析法、敘事學(xué)、福柯身體政治、隱喻修辭、戲劇美學(xué)等理論,從品特戲劇中疾病對于品特戲劇創(chuàng)作以及劇情本身的推動(dòng)、對于隱喻意義的傳達(dá)、對于荒誕戲劇詩學(xué)功能的達(dá)成等幾個(gè)方面展開探討,試圖深入品特戲劇的肌理,探索其戲劇詩學(xué)的構(gòu)建思想及其社會(huì)意義。正文部分細(xì)致地考察了品特的具有較多疾病敘述的17部戲劇包括《房間》、《生日晚會(huì)》、《看管人》、《歸家》、《微痛》、《家的聲音》、《背叛》、《情人》、《一種阿拉斯加》、《溫室》、《月光》、《茶會(huì)》、《山地語言》、《送行酒》、《歸于塵土》、《新世界秩序》、《精確》等,同時(shí)還考察了他的部分詩歌如《英國中部的新年》、《戰(zhàn)爭》等,以及他的部分散文例如《茶會(huì)》等。論文分為五個(gè)部分,具體如下： 引言部分主要對品特及其作品的國內(nèi)、外研究現(xiàn)狀作了一個(gè)綜合介紹,闡述了選題的緣由、本文的研究價(jià)值所在,并介紹了在研究分析品特戲劇的過程中所采用的研究方法,研究的重點(diǎn)、難點(diǎn)及作品的創(chuàng)新之處。這一部分意在為本文的生發(fā)進(jìn)行闡釋說明,并意圖揭示全文的脈絡(luò)概貌。 第一章首先展現(xiàn)了疾病敘述的演化變遷,并對品特戲劇中的眾多的疾病進(jìn)行了梳理,以醫(yī)學(xué)理論為根據(jù)從生理疾病、精神疾病、損傷性疾病三個(gè)方面辨識劇作中的種種疾病,繪制出品特戲劇中的疾病圖譜。品特戲劇中種類豐富的疾病讓人深思其敘述動(dòng)因,童年時(shí)代的品特經(jīng)歷了倫敦大轟炸,對于戰(zhàn)爭的殘酷有了深入的理解；而作為猶太人后裔的身份認(rèn)同,使得品特從小就體驗(yàn)到了社會(huì)的不公與生活的艱辛；嫉惡如仇的斗士性格更增加了他對弱小的同情以及對強(qiáng)權(quán)的憤恨。當(dāng)然,疾病文學(xué)潮流尤其是同時(shí)代作家例如貝克特、卡夫卡等人對他的影響也起到了潛移默化的作用。以上這些因素形成合力,驅(qū)動(dòng)品特將疾病選作他的作品構(gòu)件。從后經(jīng)典敘事學(xué)的觀點(diǎn)來看,作者、文本以及讀者之間是一個(gè)交流闡釋的過程,在這個(gè)過程中,文本本身會(huì)產(chǎn)生動(dòng)力,推動(dòng)情節(jié)的發(fā)展、實(shí)現(xiàn)主題意義、強(qiáng)化人物塑造。品特戲劇中的疾病產(chǎn)生的不穩(wěn)定性以及戲劇性生成所形成的張力,推動(dòng)著劇情的發(fā)展,而疾病敘述視角與敘述聲音的精心選取,有力地實(shí)現(xiàn)了主題意義的彰顯。不僅如此,疾病敘述還推動(dòng)了人物形象的塑造,展現(xiàn)了人物性格。 第二章指出品特的疾病產(chǎn)生于特定的社會(huì)歷史語境,具有強(qiáng)大的社會(huì)文化隱喻功能。在品特的劇作中,疾病之苦難往往垂青于少數(shù)族裔人群,他們失明、失聰、失語,甚至還遭受肢體傷殘或是滅頂之災(zāi),這當(dāng)然可追根溯源至品特的少數(shù)族裔身份,也與當(dāng)代泛濫的種族歧視現(xiàn)象密切相關(guān),疾病隱喻著少數(shù)族裔在當(dāng)代社會(huì)的苦難生活。在尼采看來,上帝已經(jīng)死亡,而存在主義先哲海德格爾則對人的生存目的深感困惑,弗洛伊德認(rèn)為心理失常才是現(xiàn)代人的正常狀態(tài),在這些特定認(rèn)識的影響下,品特在他的戲劇中,展現(xiàn)出眾多心理變態(tài)的畸形人,他們扭曲了傳統(tǒng)的愛情觀、親情觀、扭曲了傳統(tǒng)倫理道德觀,人們信仰缺失、精神頹廢,這是一個(gè)極端異化的世界,傳統(tǒng)的仁愛宗教觀念被消解了。疾病產(chǎn)生于身體,是身體的不正�，F(xiàn)象,因而疾病政治其實(shí)也是一種身體政治。在宏觀政治中,疾病被統(tǒng)治者所利用,在品特的戲劇中發(fā)揮了控制、規(guī)訓(xùn)、懲罰等功能,持異見者被視為他者,受到迫害、肢體損傷甚至死亡,弱者在國家權(quán)力的施行中致病、致死,遭受無情的踐踏,疾病展現(xiàn)了不相和諧的國家權(quán)力關(guān)系。在微觀政治中,疾病作為一種話語策略,被患者和非患者雙方所利用,或是為了隱藏真實(shí)的目的,或是為了結(jié)成同盟以爭奪生活中的種種利益,演繹出一場場看不見硝煙、卻也驚心動(dòng)魄的微觀政治斗爭,疾病展現(xiàn)了病態(tài)的社會(huì)個(gè)人關(guān)系。在女性政治中,疾病只是作為一種表象存在,病與不病其實(shí)是社會(huì)文化的反映,在女性看似喜歡受虐待的變態(tài)心理背后,其實(shí)映射出品特時(shí)期女性的生存狀況。品特在他的劇作中還塑造出滿目瘡痍、肢體橫陳的景象,這是殘酷戰(zhàn)爭的威力與杰作,背后隱藏著作劇作家品特對戰(zhàn)爭的譴責(zé)與痛恨,也隱藏著他內(nèi)心的傷痛。 第三章主要是對品特戲劇中疾病在構(gòu)建荒誕詩學(xué)方面的功用進(jìn)行了探討�！安淮_定性”,以及“脅迫性”是品特戲劇的兩個(gè)明顯特征,是品特戲劇的核心風(fēng)格。品特的戲劇不僅僅追求對白的韻律,還往往像詩歌一樣只呈現(xiàn)意象,而不解釋意象產(chǎn)生的原因。疾病強(qiáng)化了品特的“不確定性”這一戲劇特點(diǎn),增加了文本的闡釋可能。而疾病與生俱來的苦痛感覺,以及它存在的普遍性,再加上品特劇作中的疾病與暴力聯(lián)姻,往往形成于暴力,同時(shí)又因?yàn)榧膊∷a(chǎn)生的社會(huì)效果,強(qiáng)化了品特戲劇的脅迫性。審丑就是審美,對丑的張揚(yáng)產(chǎn)生了諷刺效果,疾病是人的非正常狀態(tài),而荒誕則是社會(huì)的不正常狀態(tài),對于作為“丑”的疾病的張揚(yáng)展現(xiàn)了社會(huì)的荒誕,助力于品特實(shí)現(xiàn)諷刺社會(huì)現(xiàn)實(shí)的目的。疾病在達(dá)成品特的戲劇性、形成戲劇張力上功不可沒,戲劇性的生成宣泄了觀眾的情感,也是劇作家品特對于他者地位的自我宣泄。 文章最后是結(jié)語部分。通過研究發(fā)現(xiàn),疾病是劇作家品特對于生活的強(qiáng)烈心理體驗(yàn),在構(gòu)建品特的戲劇詩學(xué)方面作用顯著,是品特戲劇中表現(xiàn)形式最為豐富、象征意義最為廣泛、表達(dá)力最強(qiáng)、最為活躍的元素之一。而疾病的豐富性、暴力性、政治隱喻性等因素又使得品特的疾病應(yīng)用在同時(shí)代的劇作家中獨(dú)樹一幟,既突出了品特的個(gè)人風(fēng)格,又豐富了荒誕戲劇的建構(gòu)形式。從社會(huì)學(xué)的角度看,疾病既是個(gè)人的,也是社會(huì)的,品特的疾病敘述映襯出社會(huì)的現(xiàn)實(shí)狀況。如果說早期的傳統(tǒng)劇作家認(rèn)為戲劇能夠進(jìn)行道德教化,那么現(xiàn)代劇作家們則認(rèn)為戲劇能夠探尋或是指出人類的復(fù)雜性進(jìn)而治療自身或觀眾的心靈疾病,因而,疾病敘述在助力品特抒發(fā)自身情感體驗(yàn)的同時(shí),客觀上還起到了“揭示病痛、療救眾生”的效用,反映了劇作家高超的藝術(shù)技巧及濃濃的人文主義情懷。
[Abstract]:Disease is as old as the history of life, and it is an old topic. In primitive society, disease existed as the incarnation of God for a long time, representing the discontent and punishment of gods to human beings. Diseases in literature have never been equated with diseases referred to in medicine. The emergence and development of diseases have been deeply impressed by human thinking. Their development and changes are interrelated with the social material and culture on which human beings depend, and influence each other and become inheritance. Since modern times, with the frequent outbreak of war, social transformation and change, the process of urbanization, the collision between personal values and social values, the conflicts between the interests of individuals and individuals, more and more social problems have arisen, giving rise to people's mind and body. As a projection of real life, the image of disease appears more and more in modern literature. Disease is not only a tool for writers to interpret the world and express their emotional experience, but also a channel for people to interpret social features and writers'creative consciousness. Harold Pinter grew up in World War II. As a Jewish descendant, he experienced the trauma and identity of London bombing when he was young. Absurd playwrights often use metaphorical expressions to express their emotional experiences. Since Pinter was added to the list, then he represented the suffering of the disease. As a kind of life situation, disease interacts with the social environment in which it exists. Paying attention to disease embodies Pinter's keen consciousness and ability of observation. Understanding and experiencing of disease permeates most of his literary works, with the help of carrying various social cultures. Pinter succeeded in showing the contemporary social history, politics, religion and other cultural conditions, expressing his understanding of the world, showing his own humanistic ideas.
The consciousness of disease runs through all kinds of Pinter's works, including poetry, prose and drama. However, since drama is recognized as his most important achievement, this paper also takes his drama as the main research object. Based on medical theory, this paper combs the diseases in Pinter's plays in detail and uses the spirit. Analytical method, narratology, Foucault's body politics, metaphorical rhetoric, drama aesthetics and other theories are discussed from several aspects, such as the impetus of diseases in Pinter's plays to Pinter's drama creation and plot itself, the transmission of metaphorical meaning, and the achievement of poetic function of absurd drama. In the main part, Pinter's 17 plays with many illness narratives, including Room, Birthday Party, Watchman, Home, Minor Pain, Voice of Home, Betrayal, Lover, An Alaska, Greenhouse, Moonlight, Tea Party, Mountain Language, Wine, and Dust, are examined in detail. New World Order, Precision and so on. Some of his poems, such as New Year in the Middle of England, War, and some of his essays, such as Tea Party, are also examined.
The introduction mainly introduces the domestic and foreign research status of Pinter and his works, expounds the reasons for choosing the topic, the value of this study, and introduces the research methods used in the process of studying and analyzing Pinter's plays, the focus of the study, the difficulties and the innovations of his works. The purpose of this paper is to explain and illustrate the outline of the whole text.
Chapter One first shows the evolution of disease narrative, and combs out many diseases in Pinter's plays. Based on medical theories, the author identifies diseases in the plays from three aspects: physiological diseases, mental diseases and injury diseases, and draws the disease map in Pinter's plays. In his childhood, Pinter experienced the London bombing and had a deep understanding of the cruelty of the war. His identity as a descendant of Jews made Pinter experience social injustice and the hardships of life from an early age. His character of a jealous fighter increased his sympathy for weakness and strength. Of course, the trend of disease literature, especially the influence of contemporary writers such as Beckett and Kafka, also exerted a subtle influence on him. In the process of stream interpretation, the text itself will generate momentum, promote the development of the plot, realize the thematic meaning, and strengthen the characterization. The instability of the disease in Pinter's plays and the tension formed by the dramatic production will promote the development of the plot. The careful selection of the perspective of disease narration and the voice of narration will strongly promote the development of the plot. Not only that, the disease narrative also promotes the portrayal of the characters, showing the character's character.
Chapter Two points out that Pinter's illness originates in a specific social and historical context and has a powerful socio-cultural metaphorical function. In Nietzsche's view, God is dead, while Heidegger, an existentialist philosopher, is deeply puzzled about the purpose of human existence. Freud believes that psychological disorders are the normal state of modern people, in these particular circumstances. Under the influence of cognition, Pinter shows a lot of abnormal people in his plays. They distort the traditional view of love, kinship, ethics and morality. People lack belief and spiritual decadence. This is an extremely alienated world. The traditional religious concept of benevolence is dispelled. In macro-politics, illness is used by the rulers and plays the roles of control, discipline and punishment in Pinter's plays. Dissidents are regarded as others, persecuted, physically injured or even dead. Weak people become ill, die and suffer mercilessly in the exercise of state power. In micro-politics, disease, as a discourse strategy, is exploited by both the patient and the non-patient, either to hide the real purpose, or to form an alliance for the various interests of life, and thus to deduce a series of invisible but thrilling micro-politics. In women's politics, illness is only a kind of appearance, but illness and non-illness are actually the reflection of social culture. Behind the perverted psychology of women who seem to like being abused, it reflects the living conditions of women in Pinter's time. Pinter also portrays the full eyes in his plays. Scenes of ravages and limbs are the power and masterpiece of a brutal war. Behind them lies the playwright Pinter's condemnation and hatred of the war, as well as his inner pain.
The third chapter mainly discusses the function of disease in Pinter's plays in constructing absurd poetics.Uncertainty and coercion are two distinct features of Pinter's plays and the core style of Pinter's plays. Illness strengthens Pinter's dramatic character of "uncertainty" and increases the possibility of textual interpretation. The inherent pain of disease and its universality, coupled with the combination of disease and violence in Pinter's plays, often result from violence and the social effects of disease. Appreciation of ugliness is aesthetic, which produces satirical effect on the publicity of ugliness. Disease is the abnormal state of human beings, while absurdity is the abnormal state of society. The publicity of diseases as ugliness reveals the absurdity of society and helps Pinter achieve the purpose of satirizing social reality. Dramatic, the formation of dramatic tension is indispensable, dramatic production catharsis of the audience's emotions, but also the playwright Pinter for the status of the other self-catharsis.
Through the study, it is found that disease is the dramatist Pinter's strong psychological experience of life, plays a significant role in constructing Pinter's dramatic poetics, and is one of the most abundant forms of expression, the most extensive symbolic meaning, the strongest expressive force and the most active elements in Pinter's drama. Political metaphor and other factors make Pinter's disease unique among contemporary playwrights, highlighting Pinter's personal style and enriching the form of absurd drama construction. Traditional playwrights believe that drama can be moralized, while modern playwrights believe that drama can explore or point out the complexity of human beings and then cure their own or audience's mental illness. Therefore, disease narration helps Pinter to express his own emotional experience while objectively playing the role of "revealing the illness and saving the living" Its utility reflects the superb artistic skills and strong humanism of playwrights.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號】：I561.073

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