十九世紀(jì)末期的維多利亞社會(huì),因其頑固而僵硬的維多利亞道德,矛盾重重,不可避免地顯示出滯后性和消極性。加之奧斯卡·王爾德本人獨(dú)特的“邊緣”性體驗(yàn),在整個(gè)社會(huì)與道德的約束中,只能在創(chuàng)作中突破其界限。王爾德以怪誕、鬧劇的形式暗示社會(huì)問(wèn)題,在其作品中,真理與假象、理性與幻想相互交織,把讀者從固定的習(xí)慣與邏輯中解放出來(lái),達(dá)到內(nèi)容、風(fēng)格、形式的狂歡。本文以巴赫金的狂歡理論為依托,結(jié)合維多利亞晚期的時(shí)代背景,與王爾德本人的個(gè)人體驗(yàn),挖掘王爾德主要作品中的狂歡因素,揭示蘊(yùn)含在其中深刻的狂歡內(nèi)涵。 本文主要從四個(gè)方面進(jìn)行層層論述,來(lái)證明王爾德藝術(shù)創(chuàng)作的狂歡化。第一部分以“狂歡”為線(xiàn)索,對(duì)西方文學(xué)史上“狂歡化”文學(xué)傳統(tǒng)進(jìn)行了簡(jiǎn)單梳理。尼采的“酒神精神”作為“非理性”的重要體現(xiàn),與巴赫金的“狂歡”精神密切相連。起源于古希臘時(shí)期的酒神祭祀的古希臘戲劇,因此具有狂歡儀式的宗教內(nèi)涵,達(dá)到狂歡化文學(xué)的第一個(gè)繁榮。到了文藝復(fù)興時(shí)期,伴隨著人文主義精神,狂歡儀式進(jìn)一步繁榮成為人們擺脫中世紀(jì)宗教神學(xué)的束縛,實(shí)現(xiàn)了除了文學(xué)、藝術(shù)之外的生活的狂歡化,這一時(shí)期的代表就是莎士比亞這樣世界級(jí)的大師。本文進(jìn)而提出由于17、18世紀(jì)理...

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【文章目錄】：
Acknowledgementns
Notes on Abbreviations
Abstract
內(nèi)容摘要
Introduction
Chapter One Carnival:the Literary Tradition under Bakhtin's Cultural Field of View
    Ⅰ. Carnival at the Dionysia period:the carnival origin of Western Literature
    Ⅱ. Carnival at the Renaissance period:the second prosperity of carnivalization of literature
    Ⅲ. Carnival's renewal at the modern times, with Oscar Wilde as the forerunner
Chapter Two A Lonely Carnival Figure at the Victorian Age
    Ⅰ. The late Victorian Age:at the edge of carnival
        A. The social situation of the late Victorian Age
        B. The influence of Aestheticism
    Ⅱ. Oscar Wilde:a lonely carnival figure
        A. Oscar Wilde's own marginalized experience both as an Irish and a gay
        B. Oscar Wilde's Aesthetic viewpoints
Chapter Three Dorian Gray:One Person's Carnival
    Ⅰ. The grotesque image of the body
    Ⅱ. The carnival image of mask
    Ⅲ. The carnival experience reflected in Dorian Gray
Chapter Four Carnival of a Group of People
    Ⅰ. The carnival of form and content of Wilde's plays
    Ⅱ. The collective carnival of dandies in Oscar Wilde's dramatic aesthetic world
    Ⅲ. The decrowning of sexuality and marriage
Conclusion
Works Cited



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