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  本文關(guān)鍵詞：論王爾德喜劇與英國喜劇傳統(tǒng)的關(guān)系　出處：《南京大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 王爾德 喜劇 傳統(tǒng) 繼承

【摘要】：奧斯卡·王爾德是英國19世紀末著名的喜劇作家,也是英國唯美主義文藝運動的擎旗人。其杰出的喜劇創(chuàng)作為英國19世紀沉寂的舞臺注入了新的活力。本文主要從現(xiàn)實主義、道德問題、人物以及演劇四方面著手,探究王爾德喜劇與英國喜劇傳統(tǒng)的關(guān)系,進而闡釋王爾德喜劇對英國喜劇傳統(tǒng)的繼承與創(chuàng)新。 全文共分六個部分展開論述： 導(dǎo)論部分簡單介紹了王爾德的喜劇創(chuàng)作及國內(nèi)外研究狀況,指出本文的選題意義所在,即研究王爾德喜劇與英國喜劇傳統(tǒng)的關(guān)系可以使我們在關(guān)注王爾德創(chuàng)作的反叛性的同時,重視王爾德對英國喜劇傳統(tǒng)的繼承,這是王爾德喜劇研究領(lǐng)域的有益嘗試。 第一章對英國喜劇發(fā)展中的現(xiàn)實主義傳統(tǒng)在各個時期的表現(xiàn)、演變進行梳理,在對莎士比亞和謝立丹喜劇的現(xiàn)實主義風(fēng)格進行歸納的基礎(chǔ)上,沿著喜劇發(fā)展的脈絡(luò)進而分析王爾德喜劇獨特的現(xiàn)實主義風(fēng)格。認為王爾德喜劇的風(fēng)格是唯美主義與現(xiàn)實主義的混合,繼承了英國喜劇發(fā)展中的現(xiàn)實主義傳統(tǒng)并有所創(chuàng)新。 第二章論述了從中世紀到莎士比亞再到王爾德喜劇中的道德模式的發(fā)展變化,同時對王爾德的唯美主義藝術(shù)主張及其在喜劇中的道德實踐的聯(lián)系進行探究,認為王爾德雖然主張藝術(shù)不涉及道德,但在具體的喜劇創(chuàng)作中,他時常進行著道德思考。唯美的文藝觀與對現(xiàn)實道德的關(guān)注,共同促成了王爾德喜劇中獨特的道德理想及訴求,這也是王爾德繼承英國喜劇傳統(tǒng)中道德觀念的結(jié)果。 第三章主要闡釋王爾德喜劇中花花公子人物形象與英國喜劇人物傳統(tǒng)的聯(lián)系,認為王爾德的花花公子形象與莎士比亞喜劇中的小丑角色在精神特質(zhì)上一脈相承,也與謝立丹喜劇人物的機智幽默的輕佻風(fēng)格同出一轍。最后歸結(jié)出王爾德式花花公子與英國喜劇人物傳統(tǒng)的對話與成長,即莎士比亞企圖通過其喜劇人物傾聽自我、改變自我,寄寓了對人自身的探索與思考,而王爾德則通過其喜劇人物在傾聽自我、改變自我的基礎(chǔ)上進一步謀求人的自身的發(fā)展。 第四章主要從服飾和道具運用兩方面對王爾德喜劇進行了探討。服飾方面,王爾德與莎士比亞一樣都重視服飾在喜劇中的作用,同時王爾德對英國喜劇的服飾傳統(tǒng)也有所繼承；道具及舞臺布置方面,王爾德喜劇中道具的運用受到英國喜劇傳統(tǒng)中道具運用的影響,并反映了當時的社會風(fēng)尚。二者共同體現(xiàn)了王爾德喜劇在演劇藝術(shù)上對于英國喜劇傳統(tǒng)的繼承與創(chuàng)新。 結(jié)語部分總結(jié)全文,指出王爾德對英國喜劇傳統(tǒng)的繼承與反叛。作為英國劇壇獨樹一幟的喜劇作家,其喜劇對英國喜劇產(chǎn)生了深遠的影響,具有經(jīng)久不衰的藝術(shù)魅力。
[Abstract]:Oscar Wilde was a famous British comedian at the end of 19th century. His outstanding comedy creation infused new vitality into the silent stage in 19th century. This article mainly from realism, moral issues. This paper probes into the relationship between Wang Erde comedy and the tradition of British comedy, and then explains the inheritance and innovation of Wang Erde comedy from the tradition of British comedy. The thesis is divided into six parts: The introduction part briefly introduces Wang Erde's comedy creation and domestic and foreign research situation, and points out the significance of this topic. That is to say, the study of the relationship between Wang Erde comedy and the tradition of British comedy can make us pay attention to the inheritance of the tradition of British comedy while we pay attention to the rebellious nature of Wang Erde's creation. This is Wang Erde's useful attempt in the field of comedy research. The first chapter summarizes the realistic tradition in the development of British comedy in various periods, and summarizes the realistic style of Shakespeare and Sheridan comedy. According to the development of comedy, this paper analyzes Wang Erde's unique realistic style of comedy and holds that the style of Wang Erde comedy is a mixture of aestheticism and realism. It inherits and innovates the tradition of realism in the development of English comedy. The second chapter discusses the development and change of moral model from the Middle Ages to Shakespeare to Wang Erde's comedy. At the same time, it probes into the aestheticism and the relationship between the aesthetic art and the moral practice in comedy. Although Wang Erde advocates that art does not involve morality, he often carries on moral thinking in his concrete comedy creation, his aesthetic view of literature and art and his attention to realistic morality. Together, Wang Erde's unique moral ideals and aspirations in comedy have been promoted, which is also the result of Wang Erde's inheriting the moral concept in the tradition of British comedy. The third chapter mainly explains the relationship between the characters of Playboy and the tradition of British comedians in Wang Erde comedy. It is believed that Wang Erde's playboy image is closely related to the clown character in Shakespeare's comedy. It is also similar to the witty and humorous frivolity of the Sheridan comedians. Finally, it comes down to the dialogue and growth between Wang Erde playboy and the English comedian. That is, Shakespeare attempts to listen to himself through his comic characters, change himself, and connote the exploration and thinking of man himself, while Wang Erde listens to himself through his comedian characters. Change oneself on the basis of further seeking for human's own development. Chapter 4th mainly discusses Wang Erde's comedy from the aspects of costume and props. In dress, Wang Erde and Shakespeare all attach importance to the role of dress in comedy. At the same time Wang Erde also inherited the tradition of British comedy; In terms of props and stage layout, the use of props in Wang Erde comedy is influenced by the use of props in British comedy tradition. Both of them reflect the tradition of English comedy and inherit and innovate the tradition of English comedy in the performance art of Wang Erde. The conclusion part summarizes the full text, points out Wang Erde's inheritance and rebellion to the tradition of British comedy. As a unique comedian writer in British drama, his comedy has a profound influence on British comedy. Has the enduring artistic charm.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I561.073

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本文編號：1394381