《罗森克兰兹与吉尔登斯特恩已死》的荒诞性分析

发布时间：2018-01-06 16:45

本文关键词：《罗森克兰兹与吉尔登斯特恩已死》的荒诞性分析　出处：《中南大学》2012年硕士论文　论文类型：学位论文

【摘要】：汤姆·斯托帕德被称为英国最聪明,最幽默的戏剧家之一。《罗森克兰茨与吉尔登斯特恩已死》是斯托帕德第一部赢得广泛关注的戏剧作品,借助《哈姆雷特》中两个不起眼的小角色,罗森克兰兹与吉尔登斯特恩,斯托帕德呈现了一部荒诞的悲喜剧。基于文本细读和批评回顾,本文作者发现,《罗森克兰兹与吉尔登斯特恩已死》是一部独特的荒诞派戏剧作品。本文拟运用法国哲学家阿尔贝·加缪的荒诞哲学,探究《罗森克兰兹与吉尔登斯特恩已死》剧中独特的荒诞性。本文导论部分首先介绍斯托帕德和《罗森克兰兹与吉尔登斯特恩已死》戏剧,然后概括国内外对该剧的研究,最后论述加缪的荒诞主义和该剧的关系。正文部分首先以剧中的情节为切入点,探讨《罗森克兰兹与吉尔登斯特恩已死》中情节的荒诞性,认为剧中出现的无情节性,戏中戏和情节的混乱,都是斯托帕德特意用来呈现加缪荒诞主义中世界的无序性和扭曲感。随后本文着重论述剧中语言的荒诞性。作为荒诞戏剧反传统的显著特征,语言被剥夺了其原有的工具性,剧中大量的沉默和无理性对话的出现,呈现加缪荒诞主义里人类与无理性的世界互动的无力感。再次,本文对剧中人物身上展示的人类共有的属性,即存在,死亡和人与人之间关系,进行了剖析,重点探究剧中人物在荒诞世界中的种种表现,认为斯托帕德对加缪的荒诞哲学进行了戏剧性的解读。最后,本文阐释了剧中意象呈现出的荒诞性。通过挖掘硬币,船,和舞台三个意象在剧中的深层含义,本文作者发现,斯托帕德在《罗森克兰兹与吉尔登斯特恩已死》剧中,并不是消极地揭露一个荒诞不经的世界,而是在于让观众在无序的世界里感受到一丝希望,对荒诞世界进行勇敢的反抗,这也正是加缪的荒诞主义所强调的。通过对情节,语言,人物和意象在斯托帕德的著作《罗森克兰茨与吉尔登斯特恩已死》的具体分析,本文作者认为,《罗森克兰兹与吉尔登斯特恩已死》是一部独特的荒诞戏剧,是加缪荒诞哲学思想戏剧化的体现。从这一角度解读《罗森克兰兹与吉尔登斯特恩已死》,能为国内对斯托帕德的研究提供一个案例,同时也展示出斯托帕德对传统戏剧的颠覆以及斯托帕德式的荒诞戏剧的魅力。
[Abstract]:Tom Stoppard is described as one of Britain's smartest and most humorous dramatists. "Rosenkranz and Gilden Stern are dead." it was Stoppard's first drama to win wide attention. With the help of two minor characters in Hamlet, Rosencland and Gilden Stern, Stoppard presents an absurd tragicomedy. Based on a close reading of the text and a critical review, the author finds out. Rosencrantz and Gilden Stern are a unique absurd dramatic work. This paper intends to use the absurd philosophy of French philosopher Albert Camus. A probe into the unique absurdity of Rosencrantz and Gilden Stern. The introduction to this paper first introduces Stoppard and the Drama of Rosencrantz and Gilden Stern, and then summarizes the domestic and foreign studies of the play. At last, the author discusses the relationship between Camus' absurdity and the play. Firstly, the text takes the plot of the play as the starting point to explore the absurdity of the plot in Rosenkranz and Gilden Stern. The inexorable standoff of the play, the confusion of the play and the plot. All of them are used by Stoppard to present the sense of disorder and distortion of the world in Camus' absurdity. Then this paper focuses on the absurdity of the language in the play, which is a remarkable feature of the anti-tradition of absurd drama. Language is deprived of its original instrumentality. The emergence of a great deal of silence and irrational dialogue in the play presents a sense of powerlessness between human beings and the irrational world in Camus' absurdity. In this paper, the characters on the show on the common attributes of human beings, that is, existence, death and the relationship between people, analyzed, focusing on the characters in the drama in the absurd world of all kinds of performance. Finally, this paper explains the absurdity of the image in the play. By digging into the coin, the ship, and the stage, the paper explains the deep meaning of the three images in the play. The author finds that Stoppard's "Rosencrantz and Gilden Stern is dead" is not a negative revelation of a world of absurdity. It is to make the audience feel a glimmer of hope and brave resistance to the absurd world in a disorderly world, which is also emphasized by Camus's absurdity. Through the concrete analysis of plot, language, characters and images in Stoppard's book Rosenkranz and Gilden Stern are dead, the author believes that. Rosencrantz and Gilden Stern are a unique absurd drama, which is the embodiment of Camus' absurd philosophy. From this angle, Rosen Cranz and Gilden Stern are dead. It provides a case for the study of Stoppard in China, and also shows Stoppard's subversion of traditional drama and the charm of Stoppard's absurd drama.
【学位授予单位】：中南大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I561.073

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