品特戏剧中的疾病叙述研究

发布时间：2018-08-23 11:41

【摘要】：疾病同生命的历史一样久远,是个古老的话题。原始社会时期,疾病长期作为神的化身存在,代表着神灵对人的不满和惩罚。随着人们认知世界能力的增强,疾病的神秘性有所降低,然而,疾病的隐喻意义却并未消失,而是随着人们的认识变迁而逐渐泛化,渗透到人类社会的各个领域。文学中的疾病从来就不会仅仅等同于医学中所指的疾病,疾病的产生和发展被深深地打上了人类思维的印记,它的发展变迁与人类赖以生存的社会物质文化相互关联,相互影响,变成了承载社会文明、文化的载体,反映出作家同时代的社会风貌。近代以来,随着战争的频繁爆发、社会的转型变迁,城市化的进程,个人价值观与社会价值观之间的碰撞,个人与个人之间利益发生抵触,滋生出越来越多的社会问题,给人们的心身造成难以愈合的伤痛。于是,作为现实生活的投射,疾病意象越来越多的出现在现代、后现代文学作品中,疾病既是作家诠释世界、表达情感体验的工具,反之也是人们解读社会风貌及作家创作意识的一条通道。哈罗德·品特生长于二战时期,历经社会的转型动荡,作为犹太人后裔,他幼年时期便体验到了伦敦大轰炸等种种苦难,造成了他的心灵创伤及身份认同。荒诞派剧作家通常使用隐喻的表达手法展示心中的情感体验,既然品特被添列其中,那么以代表苦难的疾病的形式表达对社会的伤痛体验恰是水到渠成。疾病作为一种人生处境,与它存在的社会环境相互映衬。对疾病的关注体现了品特敏锐的观察意识与观察能力,对疾病的理解与体验渗透在他的大多数文学作品中,借助于承载着各种社会文化的疾病,品特成功地展现了同时代的社会历史、政治、宗教等文化状况,表达了自己对世界的认识,展现了自己的人文主义思想。疾病意识贯穿于品特的各类作品中,包括诗歌、散文和戏剧。然而,由于戏剧公认为他最主要的成就,因而本文的研究也以他的戏剧作为主要研究对象。本文以医学理论作为划分基础,对品特戏剧中的疾病进行了详尽的梳理,并运用了精神分析法、叙事学、福柯身体政治、隐喻修辞、戏剧美学等理论,从品特戏剧中疾病对于品特戏剧创作以及剧情本身的推动、对于隐喻意义的传达、对于荒诞戏剧诗学功能的达成等几个方面展开探讨,试图深入品特戏剧的肌理,探索其戏剧诗学的构建思想及其社会意义。正文部分细致地考察了品特的具有较多疾病叙述的17部戏剧包括《房间》、《生日晚会》、《看管人》、《归家》、《微痛》、《家的声音》、《背叛》、《情人》、《一种阿拉斯加》、《温室》、《月光》、《茶会》、《山地语言》、《送行酒》、《归于尘土》、《新世界秩序》、《精确》等,同时还考察了他的部分诗歌如《英国中部的新年》、《战争》等,以及他的部分散文例如《茶会》等。论文分为五个部分,具体如下：引言部分主要对品特及其作品的国内、外研究现状作了一个综合介绍,阐述了选题的缘由、本文的研究价值所在,并介绍了在研究分析品特戏剧的过程中所采用的研究方法,研究的重点、难点及作品的创新之处。这一部分意在为本文的生发进行阐释说明,并意图揭示全文的脉络概貌。第一章首先展现了疾病叙述的演化变迁,并对品特戏剧中的众多的疾病进行了梳理,以医学理论为根据从生理疾病、精神疾病、损伤性疾病三个方面辨识剧作中的种种疾病,绘制出品特戏剧中的疾病图谱。品特戏剧中种类丰富的疾病让人深思其叙述动因,童年时代的品特经历了伦敦大轰炸,对于战争的残酷有了深入的理解；而作为犹太人后裔的身份认同,使得品特从小就体验到了社会的不公与生活的艰辛；嫉恶如仇的斗士性格更增加了他对弱小的同情以及对强权的愤恨。当然,疾病文学潮流尤其是同时代作家例如贝克特、卡夫卡等人对他的影响也起到了潜移默化的作用。以上这些因素形成合力,驱动品特将疾病选作他的作品构件。从后经典叙事学的观点来看,作者、文本以及读者之间是一个交流阐释的过程,在这个过程中,文本本身会产生动力,推动情节的发展、实现主题意义、强化人物塑造。品特戏剧中的疾病产生的不稳定性以及戏剧性生成所形成的张力,推动着剧情的发展,而疾病叙述视角与叙述声音的精心选取,有力地实现了主题意义的彰显。不仅如此,疾病叙述还推动了人物形象的塑造,展现了人物性格。第二章指出品特的疾病产生于特定的社会历史语境,具有强大的社会文化隐喻功能。在品特的剧作中,疾病之苦难往往垂青于少数族裔人群,他们失明、失聪、失语,甚至还遭受肢体伤残或是灭顶之灾,这当然可追根溯源至品特的少数族裔身份,也与当代泛滥的种族歧视现象密切相关,疾病隐喻着少数族裔在当代社会的苦难生活。在尼采看来,上帝已经死亡,而存在主义先哲海德格尔则对人的生存目的深感困惑,弗洛伊德认为心理失常才是现代人的正常状态,在这些特定认识的影响下,品特在他的戏剧中,展现出众多心理变态的畸形人,他们扭曲了传统的爱情观、亲情观、扭曲了传统伦理道德观,人们信仰缺失、精神颓废,这是一个极端异化的世界,传统的仁爱宗教观念被消解了。疾病产生于身体,是身体的不正常现象,因而疾病政治其实也是一种身体政治。在宏观政治中,疾病被统治者所利用,在品特的戏剧中发挥了控制、规训、惩罚等功能,持异见者被视为他者,受到迫害、肢体损伤甚至死亡,弱者在国家权力的施行中致病、致死,遭受无情的践踏,疾病展现了不相和谐的国家权力关系。在微观政治中,疾病作为一种话语策略,被患者和非患者双方所利用,或是为了隐藏真实的目的,或是为了结成同盟以争夺生活中的种种利益,演绎出一场场看不见硝烟、却也惊心动魄的微观政治斗争,疾病展现了病态的社会个人关系。在女性政治中,疾病只是作为一种表象存在,病与不病其实是社会文化的反映,在女性看似喜欢受虐待的变态心理背后,其实映射出品特时期女性的生存状况。品特在他的剧作中还塑造出满目疮痍、肢体横陈的景象,这是残酷战争的威力与杰作,背后隐藏着作剧作家品特对战争的谴责与痛恨,也隐藏着他内心的伤痛。第三章主要是对品特戏剧中疾病在构建荒诞诗学方面的功用进行了探讨。“不确定性”,以及“胁迫性”是品特戏剧的两个明显特征,是品特戏剧的核心风格。品特的戏剧不仅仅追求对白的韵律,还往往像诗歌一样只呈现意象,而不解释意象产生的原因。疾病强化了品特的“不确定性”这一戏剧特点,增加了文本的阐释可能。而疾病与生俱来的苦痛感觉,以及它存在的普遍性,再加上品特剧作中的疾病与暴力联姻,往往形成于暴力,同时又因为疾病所产生的社会效果,强化了品特戏剧的胁迫性。审丑就是审美,对丑的张扬产生了讽刺效果,疾病是人的非正常状态,而荒诞则是社会的不正常状态,对于作为“丑”的疾病的张扬展现了社会的荒诞,助力于品特实现讽刺社会现实的目的。疾病在达成品特的戏剧性、形成戏剧张力上功不可没,戏剧性的生成宣泄了观众的情感,也是剧作家品特对于他者地位的自我宣泄。文章最后是结语部分。通过研究发现,疾病是剧作家品特对于生活的强烈心理体验,在构建品特的戏剧诗学方面作用显著,是品特戏剧中表现形式最为丰富、象征意义最为广泛、表达力最强、最为活跃的元素之一。而疾病的丰富性、暴力性、政治隐喻性等因素又使得品特的疾病应用在同时代的剧作家中独树一帜,既突出了品特的个人风格,又丰富了荒诞戏剧的建构形式。从社会学的角度看,疾病既是个人的,也是社会的,品特的疾病叙述映衬出社会的现实状况。如果说早期的传统剧作家认为戏剧能够进行道德教化,那么现代剧作家们则认为戏剧能够探寻或是指出人类的复杂性进而治疗自身或观众的心灵疾病,因而,疾病叙述在助力品特抒发自身情感体验的同时,客观上还起到了“揭示病痛、疗救众生”的效用,反映了剧作家高超的艺术技巧及浓浓的人文主义情怀。
[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.
【学位授予单位】：西南大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：I561.073

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