【摘要】： 本論文“互文性研究”的批評(píng)方法意指兩個(gè)層面:一個(gè)層面是文本內(nèi)部主體自覺(jué)的后現(xiàn)代互文性敘事策略,即研究文本自身內(nèi)質(zhì)的互文性;另一層面是用互文性的閱讀分析方法來(lái)批評(píng)文本,這并不以文本主體的自覺(jué)性為前提。 本論文將《暗戀桃花源》作為承接以上兩個(gè)層面意義的互文性文本,依據(jù)文本敘事線索,將場(chǎng)次結(jié)構(gòu)整理為相對(duì)完整獨(dú)立的四大部分,相應(yīng)依次以四個(gè)經(jīng)典文本為參照,尋求對(duì)應(yīng)文本間的互文關(guān)系,以圖歸納其間異同,借此驗(yàn)證經(jīng)典作品間某些有趣的關(guān)聯(lián)。與此同時(shí),機(jī)動(dòng)性地穿插探討文本內(nèi)四個(gè)部分之間的互文性。 本論文第一章以加繆存在主義戲劇觀念為出發(fā),尋求《暗戀》與《誤會(huì)》間的互文性、第二章對(duì)應(yīng)于皮蘭德婁的元戲劇,分析“爭(zhēng)搶舞臺(tái)的演員們”與“尋找作者的劇中人”的互文性、第三章從審美烏托邦的角度,尋求《桃花源》對(duì)《桃花源記》進(jìn)行“重復(fù)”中的互文性意義、第四章在荒誕派戲劇情境特征的基礎(chǔ)上,將《暗戀桃花源》中的“劉子驥”與貝克特的“戈多”展開(kāi)互文對(duì)比,并對(duì)全劇主題進(jìn)行歸結(jié)。
[Abstract]:The critical method of "intertextuality study" in this thesis refers to two aspects: one is the self-conscious post-modern intertextuality narrative strategy of the internal subject of the text, that is, the study of the intertextuality of the text itself; Another aspect is the intertextuality of reading analysis method to criticize the text, which is not based on the subjective consciousness of the text. In this paper, the author regards "Secret Love of Peach Blossom Source" as the intertextuality text to undertake the above two levels of meaning, according to the narrative clue of the text, arranges the stage structure into four relatively complete and independent parts, corresponding to the four classical texts as reference. In order to find out the intertextuality between the corresponding texts, and to sum up the similarities and differences between them, this paper verifies some interesting connections between classical works. At the same time, the intertextuality of the four parts in the text is explored flexibly. The first chapter of this thesis is based on Camus' existential drama concept, seeking the intertextuality between "secret love" and "misunderstanding". The second chapter corresponds to the meta-drama by Pillandello. This paper analyzes the intertextuality between "the actors fighting for the stage" and "looking for the author in the play". The third chapter, from the angle of aesthetic utopia, seeks the intertextuality meaning of "repetition" in the Story of the Peach Blossom Source. The fourth chapter compares Liu Ziji and Beckett's Gordo on the basis of the characteristics of absurd drama, and summarizes the theme of the play.
【學(xué)位授予單位】：上海戲劇學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：J805

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 王天雪;;從存在主義看《等待戈多》與“尋找劉子驥”[J];青年文學(xué)家;2011年06期

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本文編號(hào)：2295824