莎士比亚悲剧中疯癫现象的福柯式解读

发布时间：2018-05-03 15:40

本文选题：莎士比亚悲剧 + 福柯　；参考：《中南大学》2012年硕士论文

【摘要】：威廉姆·莎士比亚的四大悲剧中,《哈姆莱特》(1603)、《奥赛罗》(1604)、《李尔王》(1605)、和《麦克白》(1606)是世界文学精华中的精华。在四大悲剧中,疯癫占据着主导地位,这不仅体现在疯癫人物的大量涌现,更体现在莎士比亚对疯癫人物心理活动的生动刻画。四大悲剧的疯癫人物中有真疯,也有假疯,本文主要依据福柯在《疯癫与文明》中所赞成的疯癫定义对这四大悲剧中真实的疯癫人物进行分析。而这种定义下的疯癫人物正是莎士比亚也认为真正疯癫的奥菲利娅、李尔王和麦克白夫人。因此本文主要围绕这三个疯癫人物进行分析。依据福柯对疯癫的划分及归因,本文探讨了他们疯癫的类型和原因。三个疯癫人物貌似毫无关联,实际上,他们的疯癫却透露出了一些共同点。在他们身上,疯癫是理性的流动,因为他们看似疯癫,却努力探寻自我,又一语道破真理。可见,在这些悲剧里,疯癫并不是一无是处,相反,它闪烁着理性的光辉。疯癫的另一个不容忽视的特点是：疯癫是挫败敌人、恢复秩序的桥梁。福柯认为：在文艺复兴时期的戏剧里,理性和疯癫在不断地展开对话,疯癫或愚蠢活动在理性和真理当中。这一看法在莎士比亚的悲剧中得到了最好的例证。疯癫现象在莎士比亚悲剧中的出现并不是偶然,它是时代使然,它象征着疯癫主人公对自身生存现状的焦虑,它寄托着莎士比亚对社会现实的忧虑以及对文艺复兴时期人类活动的哲学思考。莎士比亚让疯癫而非死亡出现在舞台的中央,是想引导观众思考什么是疯癫,为什么会有疯癫,疯癫给人们带来了什么等问题。在莎士比亚的悲剧里,疯癫引导人们关心社会,关注自我,思考人性的各种弱点,并意识到爱与正义的重要性。颇具讽刺意味的是,这些原本是人的理性才能实现的使命。这一切都证明在文艺复兴时期,疯癫有时比理性更为接近真理,更能揭示问题所在,从而更有效地解决问题,用福柯的话说,这种疯癫是理性的流动,是人类对自身生存的忧虑。
[Abstract]:Among William Shakespeare's four tragedies, Hamlet 1603, Othello 1604, King Lear 1605, and Macbeth 1606 are the essence of the world literature. Among the four tragedies, madness occupies a dominant position, which is not only reflected in the emergence of a large number of crazy characters, but also in Shakespeare's vivid portrayal of the mental activities of mad characters. There are true madness and false madness among the four tragedies. This paper analyzes the real crazy characters in the four tragedies according to the definition of madness approved by Foucault in Mad and Civilization. The crazy characters in this definition are Ophelia, King Lear, and Lady Macbeth, who Shakespeare also considers to be insane. Therefore, this paper mainly focuses on the analysis of these three crazy characters. According to Foucault's classification and attribution of madness, this paper discusses the types and causes of their madness. The three crazy characters seem irrelevant, but in fact, their madness reveals something in common. In them, madness is the flow of reason, for they seem mad, but strive to find themselves and speak the truth. Clearly, in these tragedies, madness is not nothing, on the contrary, it flashes with the brilliance of reason. Another characteristic of madness cannot be ignored: madness is a bridge to defeat the enemy and restore order. Foucault believes that in Renaissance drama, reason and madness are constantly engaged in dialogue, madness or folly in reason and truth. This view is best exemplified in Shakespeare's tragedy. The emergence of the phenomenon of madness in Shakespeare's tragedy is not accidental, it is the result of the times, it symbolizes the anxiety of the crazy protagonist about his own living situation. It is based on Shakespeare's worries about social reality and philosophical thinking about human activities during the Renaissance. Shakespeare made madness, not death, in the center of the stage, trying to lead the audience to think about what is madness, why there is madness, and what madness brings to people. In Shakespeare's tragedy, madness leads people to care about society, to pay attention to themselves, to think about the weaknesses of human nature, and to realize the importance of love and justice. Ironically, these are the missions of human rationality. All this proves that in the Renaissance madness was sometimes closer to the truth than reason, more revealing the problem, and thus more effective in solving it, which, in Foucault's words, was the flow of reason. It is the anxiety of man about his own existence.
【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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