【摘要】：20世紀西方著名文藝理論家巴赫金在跨學科研究的基礎上創(chuàng)立了巴赫金學說，其思想內核可以概括成“對話主義”、“復調小說理論”和“狂歡化詩學”這三條精髓。復調理論是在《陀思妥耶夫斯基詩學問題》一書中最早提出的，它為解讀莎士比亞戲劇《李爾王》提供了新的批評視角。文藝復興時期的不朽名著《李爾王》，一直被視作文學史上最偉大的悲劇之一。然而，這部作品的語言藝術、文本建構和精神蘊涵處處充溢著對話關系、復調敘事和狂歡底色，它交織著多元聲音的合奏與對話,展現(xiàn)出巴赫金意義上的眾聲的狂歡交響曲。因此，這為我們試用巴赫金學說對莎劇《李爾王》進行重新解讀提供了一個范本，借以探索復調狂歡化烏托邦的全新人類關系，，從而揭示戲劇背后蘊藏的深遠的社會意義。 本文旨在揭示李爾王意識中的“權威話語”與“乞丐話語”的雙重主體重疊、愛德蒙等人內心“神性自我”與“權欲自我”的爭鋒；還從弄人視角來審視李爾王的一言一行；并邀請觀眾對劇作展開自由闡釋。筆者試圖展示李爾王的不同自我之間、李爾王與劇中人物之間、觀眾與觀眾、觀眾與作品之間形成的多重復調關系；還有對李爾王等人的加冕與脫冕，肯特伯爵那種富有莊諧體語言風格的對話，李爾王、肯特的咒罵語中顯露出“物質—肉體”的怪誕意象，預示著死亡與新生的更替等等情節(jié)，這些都是莎士比亞其他劇作所無法比擬的。因此，本文認為,該劇本的語言和結構呈現(xiàn)出鮮明多樣的復調敘事特征，共時對話的雙聲性、人物意識的多聲部性、對話的狂歡化性貫穿作品始終。綜上所述，各部分之間的“對話”豐富了文本的內容，使整個故事充滿了張力。因此，本學位論文旨在探索作品本身折射出豐富的思想內涵，也使得我們對戲劇中復調存在的可能性作了進一步探討。 本文共分六章。第一章簡要介紹莎士比亞生平、時代及其最具影響力的劇作《李爾王》，然后總結了中外文學批評界對這一作品的研究評論；第二章闡述了巴赫金的背景知識及其學術思想；第三章從“復調小說理論”角度探討了這一劇作中存在的共時性的“雙聲語”對話現(xiàn)象；第四章從“對話主義”視角關注戲劇中人物的多聲部意識；第五章依據(jù)“狂歡化詩學”探索了劇本出現(xiàn)的狂歡化時空中的廣場語言和復調對話；第六章得出結論：這部戲劇中的各種人物在各個層面、各類關系之中以多種方式所進行的復調狂歡化對話，為我們唱響了一曲莎士比亞時代英格蘭社會歡歌，也有助于我們建構烏托邦理想和重建人類文明。
[Abstract]:Bachtin, a famous western literary theorist in the 20th century, founded Bachtin's theory on the basis of interdisciplinary research. the core of his thought can be summarized as three quintessence: "dialogism", "polyphonic novel theory" and "carnival poetics". Polyphonic theory was first put forward in Dostoevsky's Poetics, which provides a new critical perspective for the interpretation of Shakespeare's play King Lear. King Lear, an immortal masterpiece of the Renaissance, has always been regarded as one of the greatest tragedies in the history of literature. However, the language art, text construction and spiritual implication of this work are filled with dialogue, polyphonic narration and carnival background everywhere. It is intertwined with the ensemble and dialogue of multiple voices, showing the Carnival symphony of all voices in Bachkin's sense. Therefore, this provides a model for us to re-interpret Shakespeare's King Lear by using Bachkin's theory, so as to explore the new human relationship of polyphonic carnival utopia, so as to reveal the far-reaching social significance behind the drama. The purpose of this paper is to reveal the overlap between "authoritative discourse" and "beggar discourse" in King Lear's consciousness, the struggle between "divine self" and "power desire self" in the heart of Edmond et al., and to examine King Lear's words and deeds from the perspective of making people. And invite the audience to carry out free interpretation of the play. The author attempts to show the repeated relationship between King Lear and the characters in the play, between the audience and the audience, and between the audience and the works. There is also the coronation and removal of the crown of King Lear and others, the dialogue of the count of Kent in the style of Zhuang and harmonious language, and the grotesque image of "material-body" in the curses of King Lear and Kent, which foreshadowed the plot of death and the replacement of new life, and so on. These are incomparable to Shakespeare's other plays. Therefore, this paper holds that the language and structure of the play show distinct and diverse polyphonic narrative characteristics, the double tone of synchronic dialogue, the multivocal nature of character consciousness, and the carnival of dialogue throughout the work. To sum up, the dialogue between the various parts enriches the content of the text and makes the whole story full of tension. Therefore, the purpose of this dissertation is to explore the rich ideological connotation of the work itself, and to further explore the possibility of polyphonic existence in drama. This paper is divided into six chapters. The first chapter briefly introduces Shakespeare's life, the times and his most influential play, King Lear, and then summarizes the research comments on this work by Chinese and foreign literary critics. The second chapter expounds Bachkin's background knowledge and academic thought. The third chapter discusses the synchronic "double language" dialogue phenomenon in this play from the perspective of "polyphonic novel theory", the fourth chapter pays attention to the multi-tone consciousness of the characters in the drama from the perspective of "dialogism", and discusses the synchronic "double language" dialogue phenomenon in this play from the perspective of "polyphonic novel theory". The fifth chapter explores the square language and polyphonic dialogue in carnival time and space according to Carnival Poetics. The sixth chapter draws the conclusion that the polyphonic carnival dialogue between the various characters in this play at all levels and in various relationships sings a song of English society in Shakespeare's time. It also helps us to construct utopian ideals and reconstruct human civilization.
【學位授予單位】：合肥工業(yè)大學
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：I561.073

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