本文關(guān)鍵詞：論新時(shí)期以來(lái)戲劇中的瘋癲形象，由筆耕文化傳播整理發(fā)布。

網(wǎng)友wh7422近日為您收集整理了關(guān)于論新時(shí)期以來(lái)戲劇中的瘋癲形象的文檔，希望對(duì)您的工作和學(xué)習(xí)有所幫助。以下是文檔介紹：A study on the madness imagesIn The New era dramaA Dissertation Submitted for the Degree of MasterCandidate:Yang ChunmeiSupervisor:ZhangqiHainan Normal UniversityHaikou, ChinaI摘要新時(shí)期以來(lái)中國(guó)的政治、經(jīng)濟(jì)、文化發(fā)生了重大變化,中國(guó)社會(huì)正在向著現(xiàn)代社會(huì)全面轉(zhuǎn)型。與此同時(shí),新時(shí)期以來(lái)戲劇中的瘋癲形象頻繁出現(xiàn),如八十年代著名的話劇《天才與瘋子》中的任渺及《狗兒爺涅槃》的狗兒爺,還有《桑樹(shù)坪紀(jì)事》中的青女到了九十年代有過(guò)士行的《鳥(niǎo)人》中的三爺,《一個(gè)無(wú)政府主義者的意外死亡》中的瘋子,《戀愛(ài)的犀牛》中的馬路,《壞話一條街》中的神秘人等等,這些瘋癲形象,作為新時(shí)期以來(lái)戲劇中一種特別的人物形象,為什么會(huì)如此頻繁地出現(xiàn)?期間有沒(méi)有隨著社會(huì)文化的轉(zhuǎn)型而發(fā)生轉(zhuǎn)變?這是本文將要探討的問(wèn)題。在本文中將對(duì)新時(shí)期以來(lái)戲劇文本中的瘋癲形象進(jìn)行歸納、分類(lèi)。結(jié)合時(shí)代的變遷、社會(huì)文化價(jià)值的取向等方面探討新時(shí)期以來(lái)戲劇中瘋癲形象的演變,在此過(guò)程中,同時(shí)也解釋了瘋癲形象為何會(huì)發(fā)生轉(zhuǎn)變的緣由。最后從瘋癲形象的批判精神的傳承與審美意蘊(yùn)的拓展這兩個(gè)方面,探討新時(shí)期以來(lái)瘋癲形象的文學(xué)史意義。期望能呈現(xiàn)出新時(shí)期以來(lái)的戲劇中瘋癲形象的整體、全面的風(fēng)貌和特色�？傊�,新時(shí)期以來(lái)戲劇中的瘋癲形象,隨著社會(huì)轉(zhuǎn)變,社會(huì)文化價(jià)值的取向的變化而發(fā)生變化,首先,瘋癲形象具有的啟蒙精神全面削減,劇作家通過(guò)瘋癲形象的喜劇精神、荒誕色彩的塑造,使瘋癲形象具有戲謔化的特征,以此達(dá)到既批判社會(huì)又迎合了觀眾的趣味。在探討新時(shí)期以來(lái)戲劇中瘋癲形象的文學(xué)史意義的過(guò)程中,我們又會(huì)發(fā)現(xiàn),新時(shí)期以來(lái)戲劇瘋癲形象的批判精神有著歷史的淵源。新時(shí)期以來(lái)戲劇中的瘋癲形象,其關(guān)于人物形象的混雜、立體的彰顯;身份主題書(shū)寫(xiě)的層出不窮;表現(xiàn)手法與戲劇結(jié)構(gòu)的創(chuàng)新;人物語(yǔ)言的反諷,在一定程度上拓展了瘋癲形象的審美意蘊(yùn)。關(guān)鍵詞:瘋癲形象;身份;啟蒙;演變;意義IIIIIAbstractsince the new era,China's political, economic cultural, has undergone major changes,Chinese society is moving towards modern society. At the same time, the madness image inthe new era drama frequently appeared, for example, In 1980s,the RenMiao in the drama"genius and madman",the Gouerye in the drama “Gouerye's Nirvana” and The Qingnv in thedrama “Sangshuping Chronicle” and so on. In 1990s,the Sanye in the GuoShihang’drama“bird man”,the madman in the drama“Accidental Death of an Anarchist”,the MaLu in thedrama “The Rhino in love” and the Mystery man in the drama “The Cuss”,etc. All thesemadness images was a special characters in the new period drama,why they are so frequentlyappeared? whether they have a change follow the transformation of the social and thecultural? This paper will explore the problem.In this paper,we will be summarized and classified the image of madness in the scriptof the new era. we are investigate the shift of the image of madness in the new period dramawhich bined with the Changing times,the social cultural value orientation. In thisprocess,we also explained the reason why madness image shift. Finally,the significance of themadness image of literary history were explored that from the two aspects of the madnessimage that is the critical spirit and the aesthetic implications since the new era.we hope todescribe a prehensive style and features about the madness image in the new eradrama.In short,the madness image in the new period drama,which were changed with thesocial and the social cultural values orientation tranformation. First of all,the spirit ofenlightenment possessed by the madness image has widely descreased. The dramatist hascreated edy spirit and the absurd color of the madness image,make the madnessimage with banter characteristics,in order to critical social and caters to the audience tastes.In the process to explore the significance of the madness image of literary history in the newera drama,we also find that the critical spirit of the madness image in the new era drama

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  本文關(guān)鍵詞：論新時(shí)期以來(lái)戲劇中的瘋癲形象，，由筆耕文化傳播整理發(fā)布。