《狐狸》的狂欢化特点

发布时间：2018-10-08 14:08

【摘要】：巴·赫金(M·Bakhtin)是20世纪最重要的思想家之一他构筑的狂欢化诗学理论体系博大精深，在世界范围内产生了深远的影响。狂欢文化是一种历史悠久的庆典文化，具有非常强的生命力。古希腊罗马的祭祀酒神的庆典，农神节等节日，以及中世纪和文艺复兴时期的广场节庆等都是对狂欢文化的传承，延续。因此，用狂欢化的观点研究文艺复兴时期的作品是和恰当的，然而迄今为止，用狂欢化诗学分析当时戏剧的文章仅有几篇，而关于本琼森戏剧的狂欢化研究还几乎没有。因此，本文拟运用巴赫金的狂欢化理论，并结合新批评的文本细读方法，对本琼森的喜剧《狐狸》进行深入细致的文本分析，期望能全面揭示其狂欢化的特点---狂欢化的人物、狂欢化的背景狂欢化的情节、以及其狂欢化的语言和意象进行分析。论文包括三个部分。第一部分是引言,简要的介绍了作者并回顾了对本作品已有的各种评论,同时也介绍了狂欢化理论及其在文学评论中的运用。第二部分是论文的主体,共分为三章。第一章:深入分析《狐狸》中狂欢化的人物。剧本以讽刺人性的贪婪为主题，揭露和批判了当时伦敦社会的各种畸形和丑恶。剧中人物为满足贪欲，挖空心思施展骗术，形态各异的骗子和千奇百怪的骗术在琼森笔下变得栩栩如生，琼森对骗子们得逞后得意忘形的描述更令人赞叹不已。本章将对《狐狸》中各角色的讽刺与嘲笑、疯癫与正常进行狂欢化人物分析，，并解读这些人物内心及其行为背后的狂欢式的世界观。第二部分:狂欢化的背景和情节。剧中的背景选择在伊丽莎白时代臭名昭著的威尼斯，以其在时间上的凝固性以及空间上的非现实性构建了独特的梦幻时空体，为《狐狸》进行狂欢化背景分析提供了政治和社会依据。《狐狸》所独具的全民狂欢、荒诞、亵渎、假面和欺骗等特点使《狐狸》成为了深刻的狂欢化戏剧。第三部分:狂欢化的语言和写作意象。从前言、独白、广场语言以及充满“话外音”的对话和唱段以及富有狂欢意味的修辞手法等方面，解读《狐狸》中狂欢化语言中多声性的表现形式。而寓言体在《狐狸》中人物方面的应用则将琼森喜剧的狂欢化氛围推向了前所未有的高潮。结论部分，从人物分析、背景及主题、多声性的语言和寓言体意象形式对整篇论文进行了简要归纳，并明确指出《狐狸》是一篇狂欢化的喜剧。
[Abstract]:(M Bakhtin) is one of the most important thinkers in the 20 ~ (th) century. Carnival culture is a culture of celebration with a long history, and has a very strong vitality. Ancient Greek and Roman festivals such as the festival of the god of wine, the festival of the god of agriculture, and the festival of the square in the Middle Ages and the Renaissance are the continuation of the carnival culture. Therefore, it is appropriate and appropriate to study Renaissance works from the carnival point of view. However, so far, there are only a few articles on the analysis of drama at that time with carnival poetics, but there is almost no carnival research on Ben Johnson's drama. Therefore, this paper intends to use Bakhtin's carnival theory, combined with the new critical text reading method, to make a thorough and detailed text analysis of Joensen's comedy Fox, hoping to fully reveal its carnival characteristics-carnival characters. The background carnival plot, as well as its carnival language and image analysis. The thesis consists of three parts. The first part is the introduction, briefly introduces the author and reviews the existing comments on this work, but also introduces the carnival theory and its application in literary criticism. The second part is the main body of the thesis, which is divided into three chapters. Chapter one: deeply analyze the carnival characters in Fox. With the theme of satirical greed of human nature, the play exposes and criticizes the various deformities and ugliness of London society at that time. In order to satisfy their greed, the characters of the play, swindlers of all shapes and strange trickery become lifelike in Jonson's writings, Jonson's portrayal of the liars after their success is even more impressive. In this chapter, the satire and ridicule of the characters in Fox, crazy and normal carnival characters are analyzed, and the carnival worldview behind the characters' heart and behavior is interpreted. The second part: the background and plot of carnival. The background of the play is the infamous Venetian in the age of Elizabeth. With its solidification in time and unreality in space, it constructs a unique dreamy space-time body. It provides a political and social basis for the analysis of the carnival background of Fox, which has the unique characteristics of national carnival, absurdity, blasphemy, masquerade and deception, which make Fox become a profound carnival drama. The third part: carnival language and writing image. From the aspects of preface, monologue, square language, dialogue and choir full of "words and sounds" and rhetoric with carnival meaning, this paper interprets the expression forms of polyphonic in the carnival language of Fox. The application of fable in Fox brings the carnival atmosphere of Jonson comedy to an unprecedented climax. In the conclusion part, the author summarizes the whole thesis from character analysis, background and theme, polyphonic language and fable image form, and points out that Fox is a carnival comedy.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：I561.073

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