悲劇是在漫長(zhǎng)的人類發(fā)展過程中產(chǎn)生并不斷衍化而成的文藝表現(xiàn)形式。悲劇是戲劇的一種,它起源于古希臘的祭祀表演。隨著社會(huì)的發(fā)展,在經(jīng)歷了古希臘悲劇和莎士比亞悲劇兩大傳統(tǒng)的輝煌后,現(xiàn)代的悲劇呈現(xiàn)出其特有的時(shí)代特征。作為20世紀(jì)美國(guó)最偉大的劇作家之一,尤金.奧尼爾畢生致力于悲劇創(chuàng)作,并根據(jù)時(shí)代需要對(duì)其進(jìn)行改革和創(chuàng)新。他的名作《悲悼》既涵蓋了傳統(tǒng)悲劇的元素,如:合唱隊(duì)、面具等;同時(shí)又對(duì)悲劇藝術(shù)進(jìn)行了發(fā)展和創(chuàng)新,使其呈現(xiàn)出現(xiàn)代的特征。本文基于亞里士多德的《詩(shī)學(xué)》中的相關(guān)悲劇理論,通過對(duì)奧尼爾的《悲悼》和古希臘悲劇進(jìn)行比較分析,揭示了奧尼爾的悲劇作品對(duì)古希臘悲劇的繼承和創(chuàng)新。在正文部分,本文以亞里士多德的《詩(shī)學(xué)》為理論基礎(chǔ),從悲劇人物、悲劇技巧、悲劇意識(shí)和悲劇效果等四個(gè)方面,將奧尼爾的悲劇作品《悲悼》與古希臘悲劇進(jìn)行了對(duì)比分析。第一,關(guān)于悲劇人物。亞里士多德在他的《詩(shī)學(xué)》中提到:情節(jié)是古希臘悲劇的靈魂,而悲劇人物只不過是任憑作家擺布的木偶。然而在奧尼爾的悲劇作品里,悲劇人物都具有自我意識(shí),他們的行為均源出自己的意志。在被征服的肉體和靈魂下,是他們對(duì)人性的永恒不懈的追求。生活在這個(gè)世界上,他們一直與不可... 

【文章來源】：國(guó)防科技大學(xué)湖南省 211工程院校 985工程院校

【文章頁數(shù)】：74 頁

【學(xué)位級(jí)別】：碩士

【文章目錄】：
ABSTRACT
中文摘要
ACKNOWLEDGEMENTS
TABLE OF CONTENTS
CHAPTER INTRODUCTION
    1.1 The Objective of the Thesis
    1.2 The Background Information of the Thesis
        1.2.1 The Position of Eugene O'Neill in the World Literary Stage
        1.2.2 The Background Information of Eugene O'Neill
        1.2.3 The Background of the Creation of Mourning Becomes Electra
        1.2.4 The Origin of Tragedy and Its Early Development
        1.2.5 The Outline of Mourning Becomes Electra
    1.3 The Structure of the Thesis
CHAPTER TWO LITERATURE REVIEW
    2.1.Former Studies on Eugene O'Neill
    2.2 Aristotle's Poetics and Other Tragic Theories
CHAPTER THREE INNOVATION SEEN FROM TRAGIC CHARACTERS
    3.1 Lavinia
        3.1.1 Electra—The Model of Lavinia
        3.1.2 Lavinia
    3.2 Christine
        3.2.1 Clytemnestra—The Model of Christine
        3.2.2 Christine
    3.3 Orin
        3.3.1 Orestes—The Model of Orin
        3.3.2 Orin
CHAPTER FOUR INHERITANCE AND INNOVATION VIEWED FROM THE TRAGIC TECHNIQUES
    4.1 The Mask
        4.1.1 The Mask Used in the Ancient Greek Tragedies
        4.1.2 The Mask Used in Mourning Becomes Electra
    4.2 The Chorus
        4.2.1 The Chorus Used in Ancient Greek Tragedies
        4.2.2 The Chorus Used in Mourning Becomes Electra
CHAPTER FIVE INHERITANCE AND INNOVATION VIEWED FROM THE TRAGIC SENSE
    5.1 Fatalism
        5.1.1 Fatalism in Ancient Greek Tragedies
        5.1.2 Fatalism in Mourning Becomes Electra
    5.2 Paradox
        5.2.1 Paradox in Ancient Greek Tragedies
        5.2.2 Paradox in Mourning Becomes Electra
    5.3 Consciousness and Self-consciousness
        5.3.1 Consciousness and Self-consciousness in Ancient Greek Tragedies
        5.3.2 Consciousness and Self-consciousness in Mourning Becomes Electra
CHAPER SIX INHERITANCE AND INNOVATION VIEWED FROM THE TRAGIC EFFECT
    6.1 Cognitive Pleasure
        6.1.1 Cognitive Pleasure Achieved in Ancient Greek Tragedies
        6.1.2 Cognitive Pleasure Achieved in Mourning Becomes Electra
    6.2 Rational Pleasure
        6.2.1 Rational Pleasure Achieved in Ancient Greek Tragedies
        6.2.2 Rational Pleasure Achieved in Mourning Becomes Electra
CHAPRTER SEVEN CONCLUSION
    7.1 Findings
    7.2 Significance of the Findings
    7.3 Limitations of the Present Study and Suggestions for Future Studies
BIBLIOGRAPHY



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