易卜生后期劇作中男性形象的倫理探究
發(fā)布時間：2019-04-12 12:35
【摘要】：亨里克·約翰·易卜生是19世紀(jì)挪威著名的戲劇家,也是一位極具倫理意識的思想家,他的戲劇創(chuàng)作很多都蘊(yùn)含著豐富的倫理內(nèi)涵。本文以易卜生后期戲劇中的男性形象為主要研究對象,從倫理的角度對這些男性形象進(jìn)行解讀,把男性形象放置在個體、家庭、社會等多個層面進(jìn)行倫理關(guān)照,從其承擔(dān)的倫理身份和所遭遇的倫理困境及經(jīng)歷過的倫理創(chuàng)痛進(jìn)行分析,進(jìn)而探究出這些男性形象所折射的倫理意義和價值。文章分為三大部分,第一部分把男性形象放置在家庭倫理視角下,從其承擔(dān)的父親身份這個角度進(jìn)行解讀。因為在當(dāng)時的父權(quán)制社會,男性形象在家庭中的權(quán)威地位首先是以父親身份得以確立和延續(xù)的,再者易卜生劇作中寫到很多父親形象及其父親與子女的關(guān)系問題。這里主要闡釋了三種父親類型,這幾類父親形象既各具特色,又有聯(lián)系和發(fā)展。他們既與當(dāng)時特定的社會歷史環(huán)境密切相關(guān),也是易卜生本人對自身倫理身份定位思考的一個折射。易卜生的戲劇具有很復(fù)雜的倫理關(guān)系和糾葛,第二部分則把男性形象放在兩性關(guān)系當(dāng)中去考察,從其承擔(dān)的丈夫形象、情人形象、孩童形象等三種倫理身份和角色中,去探究這些男性形象的特質(zhì)及其所遭遇的諸如婚姻危機(jī)、戀愛困境、家庭失衡等倫理困境,并進(jìn)而分析出易卜生本人對愛情、婚姻、家庭等倫理問題的看法。首先是要以真愛和自由做為婚戀的最基本前提,易卜生在劇作中給我們展示了這些男性形象由于對真情的壓抑和漠視,進(jìn)而對兩性所產(chǎn)生的毀滅性創(chuàng)痛。再者在自我實現(xiàn)的追求中,既要對自我負(fù)責(zé),更要對他人負(fù)責(zé),戀愛困境、婚姻危機(jī)的產(chǎn)生往往是由于過于專注自我的實現(xiàn),或直接或間接地成為扼殺別人幸福的劊子手。最后是要辯證地看待孩童形象和婚戀幸福問題,孩童形象是夫妻關(guān)系是否和諧、家庭生活是否幸福的晴雨表,受創(chuàng)痛的孩童形象既是不幸婚戀的產(chǎn)物,更進(jìn)一步激化了夫妻關(guān)系和家庭婚姻的不幸,暴露了婚姻問題中存在的諸多問題。第三部分是男性形象的倫理思考,既探討了男性形象在個體追求、婚姻家庭、社會意義等三個層面上的意義和價值,又進(jìn)一步分析了易卜生后期劇作筆下這些男性形象的倫理內(nèi)涵來源�？偠灾�,易卜生后期劇作中的男性形象有著共同的心理特質(zhì)——創(chuàng)痛,這些男性形象不僅在各種創(chuàng)痛事件中,也在倫理身份和倫理困境的抉擇中展示著人生的意義和追求,他們身上不可避免地打上了易卜生本人生平經(jīng)歷的烙印,更重要的是他們身上也寄予著易卜生本人關(guān)于家庭倫理觀的審美理想和建構(gòu)。
[Abstract]:Henryk John Ibsen is a famous Norwegian dramatist in the 19th century and a thinker with great ethical consciousness. Many of his plays contain rich ethical connotations. This article takes the male image in Ibsen's later drama as the main research object, interprets the male image from the ethical angle, places the male image in the individual, the family, the society and so on to carry on the ethical care. Based on the analysis of his ethical identity, ethical dilemma and ethical pain, this paper probes into the ethical significance and value reflected by these male images. The article is divided into three parts. The first part puts the male image in the perspective of family ethics and interprets it from the angle of paternity. Because in the patriarchal society at that time, the authoritative position of the male image in the family was firstly established and continued as a father. In Ibsen's plays, many images of the father and the relationship between the father and the children were mentioned. This paper mainly explains the three types of fathers, which have their own characteristics, and are related and developed. They are not only closely related to the specific social and historical environment at that time, but also a reflection of Ibsen's own ethical identity. Ibsen's drama has complicated ethical relations and entanglements. In the second part, the male image is put into the relationship between the sexes, from the three ethical identities and roles: husband image, lover image, child image, and so on. This paper explores the characteristics of these male images and their ethical dilemmas, such as marital crisis, love dilemma, family imbalance, etc., and then analyzes Ibsen's views on the ethical issues of love, marriage, family and so on. The first is to take true love and freedom as the most basic premise of marriage and love, Ibsen shows us in the drama these male images because of the suppression and disregard of true feelings, and then the devastating pain to both sexes. Moreover, in the pursuit of self-realization, not only to self-responsibility, but also to others, love difficulties, marriage crisis is often due to too much focus on self-realization, or directly or indirectly to become the executioner of other people's happiness. Finally, it is necessary to dialectically view the image of the child and the happiness of marriage and love. The image of the child is the barometer of the harmonious relationship between husband and wife, whether the family life is happy or not, and the image of the child suffering from pain is not only the product of unhappy marriage and love, It further intensifies the misfortune of husband-wife relationship and family marriage, and exposes many problems in marriage. The third part is the ethical thinking of the male image, which not only discusses the significance and value of the male image on the three levels of individual pursuit, marriage and family, social significance, etc. It further analyzes the ethical connotation of these male images in Ibsen's later dramas. In a word, the male images in Ibsen's later plays have the same psychological characteristics-creating pain. These male images show the meaning and pursuit of life not only in various traumatic events, but also in the choice of ethical identity and ethical dilemma. They were inevitably branded with Ibsen's life experience and, more importantly, they also placed on Ibsen's aesthetic ideal and construction of family ethics.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I533.073
本文編號：2457020
[Abstract]:Henryk John Ibsen is a famous Norwegian dramatist in the 19th century and a thinker with great ethical consciousness. Many of his plays contain rich ethical connotations. This article takes the male image in Ibsen's later drama as the main research object, interprets the male image from the ethical angle, places the male image in the individual, the family, the society and so on to carry on the ethical care. Based on the analysis of his ethical identity, ethical dilemma and ethical pain, this paper probes into the ethical significance and value reflected by these male images. The article is divided into three parts. The first part puts the male image in the perspective of family ethics and interprets it from the angle of paternity. Because in the patriarchal society at that time, the authoritative position of the male image in the family was firstly established and continued as a father. In Ibsen's plays, many images of the father and the relationship between the father and the children were mentioned. This paper mainly explains the three types of fathers, which have their own characteristics, and are related and developed. They are not only closely related to the specific social and historical environment at that time, but also a reflection of Ibsen's own ethical identity. Ibsen's drama has complicated ethical relations and entanglements. In the second part, the male image is put into the relationship between the sexes, from the three ethical identities and roles: husband image, lover image, child image, and so on. This paper explores the characteristics of these male images and their ethical dilemmas, such as marital crisis, love dilemma, family imbalance, etc., and then analyzes Ibsen's views on the ethical issues of love, marriage, family and so on. The first is to take true love and freedom as the most basic premise of marriage and love, Ibsen shows us in the drama these male images because of the suppression and disregard of true feelings, and then the devastating pain to both sexes. Moreover, in the pursuit of self-realization, not only to self-responsibility, but also to others, love difficulties, marriage crisis is often due to too much focus on self-realization, or directly or indirectly to become the executioner of other people's happiness. Finally, it is necessary to dialectically view the image of the child and the happiness of marriage and love. The image of the child is the barometer of the harmonious relationship between husband and wife, whether the family life is happy or not, and the image of the child suffering from pain is not only the product of unhappy marriage and love, It further intensifies the misfortune of husband-wife relationship and family marriage, and exposes many problems in marriage. The third part is the ethical thinking of the male image, which not only discusses the significance and value of the male image on the three levels of individual pursuit, marriage and family, social significance, etc. It further analyzes the ethical connotation of these male images in Ibsen's later dramas. In a word, the male images in Ibsen's later plays have the same psychological characteristics-creating pain. These male images show the meaning and pursuit of life not only in various traumatic events, but also in the choice of ethical identity and ethical dilemma. They were inevitably branded with Ibsen's life experience and, more importantly, they also placed on Ibsen's aesthetic ideal and construction of family ethics.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I533.073
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