哈羅德·品特（1930-）是英國(guó)當(dāng)代最著名的劇作家之一,于2005年獲得諾貝爾文學(xué)獎(jiǎng)。雖然曾有少數(shù)評(píng)論家提及作家品特或其戲劇人物的焦慮心理狀態(tài),但是他們都沒(méi)有涉及品特與其戲劇人物焦慮之間的關(guān)系。然而筆者通過(guò)認(rèn)真閱讀了大量相關(guān)文獻(xiàn)之后,發(fā)現(xiàn)品特將童年到婚后的焦慮經(jīng)歷依次投射到了《夜出》、《侏儒》和《微痛》這三部廣播劇中,將真實(shí)的自我與虛構(gòu)的人物的心理歷程合二為一。因此本論文以新弗洛伊德主義代表人物卡倫·荷妮的神經(jīng)質(zhì)結(jié)構(gòu)理論為指導(dǎo),揭示品特是如何將三部廣播劇中焦慮發(fā)展的三個(gè)階段完整地表現(xiàn)出來(lái)的。通過(guò)對(duì)比品特與戲劇人物經(jīng)歷的相似性,揭示品特心理的演變過(guò)程和神經(jīng)質(zhì)的傾向。本論文主要包括四章:第一章介紹背景資料和三部廣播劇的國(guó)內(nèi)外研究概況。第二章運(yùn)用焦慮理論,通過(guò)對(duì)照品特童年至婚后的焦慮經(jīng)歷與劇中人物對(duì)應(yīng)的經(jīng)歷,發(fā)現(xiàn)品特把焦慮情緒依次投射到了上述三部作品中。第三章在荷妮神經(jīng)質(zhì)結(jié)構(gòu)理論的框架中,以具體的論據(jù)展示焦慮發(fā)展的三個(gè)階段,分析劇中人物焦慮心理的發(fā)展過(guò)程。第四章是本文的結(jié)論:三部劇中主人公的心理發(fā)展過(guò)程暗合了品特心理成長(zhǎng)的過(guò)程,從而進(jìn)一步反映出品特的神經(jīng)質(zhì)傾向。本論文的貢獻(xiàn)在于從焦慮演變過(guò)程... 

【文章來(lái)源】：南京理工大學(xué)江蘇省 211工程院校

【文章頁(yè)數(shù)】：45 頁(yè)

【學(xué)位級(jí)別】：碩士

【文章目錄】：
摘要
Abstract
Chapter One Introduction
    1 1 The Playwright and His Three Radio Plays
    1.2 Literature Review
    1.3 Significance of the Thesis
Chapter Two Harold Pinter's Anxiety
    2.1 Theories of Anxiety
        2.1.1 Sigmund Freud & Karen Horney
        2.1.2 Inheritance and Development
        2.1.3 Karen Horney's Theory of the Structure of Neuroses
    2.2 Pinter's Anxiety
        2.2.1 Hostility toward War and Mother
        2.2.2 Helplessness in Troubled Friendship
        2.2.3 Anxiety in Problematic Marriage
    2.3 The Projection of Harold Pinter's Anxiety
        2.3.1 Albert's Hostility
        2.3.2 Len's Helplessness
        2.3.3 Edward's Desire for Affection and Power
Chapter Three Three Stages of Anxiety Development
    3.1 The Cause of Anxiety in A Night Out
        3.1.1 Hostility toward the Possessive Mother
        3.1.2 Repression of Hostility
        3.1.3 Enforcement of Anxiety
    3.2 Basic Anxiety in The Dwarfs
        3.2.1 A World of Attack, Betrayal and Envy
        3.2.2 Helplessness
        3.2.3 Compulsiveness
    3.3 Development towards Neurosis in A Slight Ache
        3.3.1 Affection
        3.3.2 Power
        3.3.3 Neurosis
Chapter Four Conclusion
Acknowledgements
Works Cited
附錄



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