本文選題：莎士比亞 + 喜劇��； 參考：《上海外國(guó)語(yǔ)大學(xué)》2012年博士論文

【摘要】：莎士比亞研究成果浩如煙海，尤其是其悲劇，由于其深刻的思想性，廣受各個(gè)時(shí)代莎評(píng)家的關(guān)注。然而，評(píng)論家投向莎氏喜劇的目光要少得多。大多數(shù)人認(rèn)為，莎士比亞喜劇的主要目的是娛樂(lè)觀眾，它們顯示了劇作家精湛的創(chuàng)作藝術(shù)，卻缺乏其悲劇和傳奇劇等所具有的深刻性。但是，一個(gè)偉大的作家，其思想性必然具有統(tǒng)一性，一個(gè)偉大的劇作家，無(wú)論他創(chuàng)作的是悲劇還是喜劇，其作品能夠成為經(jīng)典，必然是精湛的創(chuàng)作藝術(shù)與深刻思想的結(jié)合體，莎士比亞在其悲劇、歷史劇、傳奇劇等作品中體現(xiàn)的深刻性，勢(shì)必也體現(xiàn)在他的喜劇之中。本論文以新批評(píng)文本細(xì)讀為主要研究方法，結(jié)合歷史生平批評(píng)、解構(gòu)主義等，選取莎士比亞創(chuàng)作早期公認(rèn)不夠成熟的《愛(ài)的徒勞》、中期較為成熟的《仲夏夜之夢(mèng)》與公認(rèn)為其喜劇巔峰之作的《第十二夜》三部作品，考察他喜劇作品的深刻性。 莎士比亞所處的時(shí)代是歐洲地理大發(fā)現(xiàn)的時(shí)代，也是歐洲文藝復(fù)興思想廣泛影響英國(guó)的時(shí)代，他所生活的英國(guó)社會(huì)是一個(gè)復(fù)雜的社會(huì)，他經(jīng)歷了兩個(gè)大不相同的王朝，也見(jiàn)證了新興資產(chǎn)階級(jí)勢(shì)力和封建勢(shì)力的激烈斗爭(zhēng)。所有這些，都影響著莎士比亞對(duì)時(shí)代、社會(huì)的觀察與思考，同時(shí)也是他作品思想深刻性賴(lài)以實(shí)現(xiàn)的前提。這種深刻性，在他的喜劇中是通過(guò)他的創(chuàng)作技巧這一渠道體現(xiàn)的。在《愛(ài)的徒勞》、《仲夏夜之夢(mèng)》和《第十二夜》這三部作品中，莎士比亞運(yùn)用巧合、戲中戲和語(yǔ)言游戲等技巧，巧妙地將他對(duì)于社會(huì)、時(shí)代、人性的敏銳觀察與深刻思考融入作品中。作品中的人物，則是呈現(xiàn)這些敏銳觀察與深刻思考的主體，鏡像式的雙重人物使作者深刻思想得以多維地呈現(xiàn)，給觀眾和讀者帶來(lái)歡樂(lè)的丑角，則很好地將這些深刻思想隱藏在笑聲之下，使作者的思想在歡樂(lè)的映照下顯得更加深刻。從這三部作品中，可以看出貫穿于莎士比亞所有喜劇作品中的顯性主題，即對(duì)真摯愛(ài)情的贊美、對(duì)真誠(chéng)友誼的頌揚(yáng)、對(duì)人性解放的謳歌和對(duì)和諧世界的憧憬，但同時(shí)也可看出，作品中大量的暗色因素同時(shí)對(duì)這些顯性主題進(jìn)行解構(gòu)，讓觀眾和讀者看到人生與愛(ài)情的虛妄、幻想的破滅以及和諧世界的失落，反映出作者另一面的深刻思想，而這種由暗色因素體現(xiàn)的深刻思想，則延續(xù)至莎士比亞的悲劇、黑暗喜劇和傳奇劇的創(chuàng)作之中。 論文專(zhuān)門(mén)探討莎士比亞喜劇，而且將其早期的喜劇作品與后來(lái)的作品視為一個(gè)體系，認(rèn)為莎士比亞所有的戲劇作品是一個(gè)連貫的整體，他早期的喜劇作品是這個(gè)體系的一個(gè)組成部分。論文將莎士比亞喜劇創(chuàng)作不同階段與不同藝術(shù)成就的作品放在一起探討，給以一個(gè)歷時(shí)坐標(biāo)，，發(fā)現(xiàn)這些作品存在著共同的創(chuàng)作及思想特點(diǎn)，而且，這些創(chuàng)作與思想特點(diǎn)延續(xù)至其悲劇、傳奇劇等其他類(lèi)型作品之中。論文還將莎士比亞喜劇創(chuàng)作的復(fù)雜性與深刻性相聯(lián)系，認(rèn)為復(fù)雜的目的是深刻，莎士比亞深邃的思想是其作品深刻性的基礎(chǔ)和決定因素，其作品復(fù)雜的結(jié)構(gòu)、人物關(guān)系、語(yǔ)言等是其深刻性的表現(xiàn)形式，其深刻性是通過(guò)這些復(fù)雜的因素呈現(xiàn)的。同時(shí)，論文提出了莎士比亞喜劇中的“暗色因素”這一概念，指出莎士比亞喜劇從最初開(kāi)始就普遍并明顯存在許多非喜劇因素。所謂暗色因素，不但包括以往莎評(píng)家已經(jīng)注意到的“悲劇因素”和“嚴(yán)肅因素”等，而且包括所有其他與喜劇結(jié)局、氛圍等不相符合的因素。這一概念是對(duì)“悲劇因素”、“嚴(yán)肅因素”等概念的擴(kuò)展。莎氏喜劇中的暗色因素使他的作品具有了一種對(duì)人性、對(duì)生命意義、對(duì)人類(lèi)理想的嚴(yán)肅認(rèn)真的哲學(xué)思考，是體現(xiàn)莎氏喜劇創(chuàng)作深刻性的一個(gè)重要元素。 本論文雖然不是對(duì)莎士比亞喜劇的全面研究，也不是對(duì)他全部劇作的系統(tǒng)研究，但從他不同創(chuàng)作時(shí)期的代表性喜劇作品中，可以管窺貫穿于莎士比亞全部創(chuàng)作過(guò)程的深刻思想，有助于更好地了解莎士比亞的作品。
[Abstract]:Shakespeare research into the sea of smoke, especially its tragedy, because of its profound ideological nature, is widely concerned with the Shakespeare in various times. However, critics have made much less attention to Shakespeare's comedies. Most people think that the main purpose of Shakespeare's comedy is to entertain audiences, which show the exquisite creation of the playwright. But a great writer, a great playwright, is a great playwright, no matter his tragedy or comedy, his works can be a classic, a combination of exquisite creative art and deep thought, and Shakespeare's tragedy, historical play, The depth of the works, such as the legendary drama, is bound to be reflected in his comedy. This paper takes the new critical text as the main research method, combines historical life criticism, deconstruction, and so on, and selects Shakespeare's early recognition of "love's futility", which is not mature enough. The twelfth works of the peak, three nights, examine the depth of his comedy.
The times of Shakespeare were in the era of great geographical discovery in Europe and the era of the widespread influence of the European Renaissance thought. The British society he lived in was a complex society. He experienced two different dynasties and witnessed the fierce struggle between the emerging bourgeois forces and the feudal forces. All of these were the shadow of the shadow. Shakespeare's observation and thinking about the times and the society are also the premise of the profound thought of his works. This profundity is embodied in his comedy through the channel of his creative skills. In the three works of "love", "the dream of midsummer night" and "Twelfth nights >", Shakespeare uses coincidences and plays in the play. And language games and other skills, skillfully integrating his keen observation and deep thinking of society, times and human nature into his works. The characters in the works are the main body of these keen observation and deep thinking, and the double characters of the mirror make the author's profound thoughts multidimensional and bring a joyful clown to the audience and the readers. In this three works, we can see the dominant themes in all of Shakespeare's comic works, the praise of sincere love, the praise of sincere friendship, the eulogize of the liberation of human nature, and the harmonious world. But at the same time, it can be seen that a large number of dark factors are deconstructed at the same time, allowing the audience and readers to see the falsehood of life and love, the disillusion of fantasy and the loss of the harmonious world, reflecting the deep thought on the other side of the author, and this profound thought, reflected by the dark factors, continues to Sasby. The tragedy of Asia, the creation of dark comedy and legendary drama.
The thesis specializes in Shakespeare's comedy, and regards his early comedy and later works as a system, and thinks that all of Shakespeare's dramatic works are a coherent whole, and his early comic works are part of this system. The thesis makes the different stages of Shakespeare's comic creation and the different artistic achievements. The works are discussed together, giving a diachronic coordinate and finding that these works have common creative and ideological characteristics. Moreover, these creative and ideological features continue to be among other types of works such as their tragedies and legends. The thesis also connects the complexity and profundity of Shakespeare's comic creation, and thinks the complex purpose is deep. Shakespeare's profound thought is the foundation and determinant of his profound works. The complex structure of his works, the relationship of characters, and the language are its profound expression forms. The profound nature of his works is presented through these complex factors. At the same time, the paper puts forward the concept of "dark factors" in Shakespeare's comedy, and points out Sasby. There are many non comic factors in the subcomedy from the beginning. The so-called dark factors include not only the "tragic factors" and "serious factors" that had been noticed by the former Shakespeare, but also all other factors that are not compatible with the comedy ending and the atmosphere. This concept is a "tragic factor", "a serious cause." The dark factors in Shakespeare's comedy make his works have a serious and serious philosophical thinking about human nature, meaning to life and the ideal of human being. It is an important element to reflect the profundity of Shakespeare's comedy.
This paper is not a comprehensive study of Shakespeare's comedy, nor a systematic study of all his plays, but from his representative comedies in his different periods of creation, it is possible to see the profound thoughts that run through all the process of Shakespeare's creation and help to better understand Shakespeare's works.
【學(xué)位授予單位】：上海外國(guó)語(yǔ)大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：I561.073

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