本文關(guān)鍵詞：愛(ài)爾蘭文藝復(fù)興時(shí)期戲劇中的女性形象研究　出處：《云南藝術(shù)學(xué)院》2017年碩士論文　論文類(lèi)型：學(xué)位論文

  更多相關(guān)文章： 愛(ài)爾蘭文藝復(fù)興 戲劇 女性形象 民族意識(shí)

【摘要】：愛(ài)爾蘭作為一個(gè)面積只有八萬(wàn)平方公里,人口四百萬(wàn)左右的島國(guó),其面積甚至比美國(guó)的許多州都要小,卻涌現(xiàn)出許多優(yōu)秀的詩(shī)人、作家與劇作家,特別是在愛(ài)爾蘭文藝復(fù)興時(shí)期。例如:葉芝、辛格、格雷戈里夫人、奧凱西、喬伊斯、蕭伯納、王爾德等。其中很多人的代表作成為了世界文學(xué)中的經(jīng)典,而這一時(shí)期的戲劇可以說(shuō)代表著愛(ài)爾蘭文學(xué)領(lǐng)域的最高成就。筆者以愛(ài)爾蘭文藝復(fù)興時(shí)期四個(gè)最重要的劇作家葉芝、格雷戈里夫人、辛格和奧凱西的劇作為研究重點(diǎn),結(jié)合愛(ài)爾蘭文藝復(fù)興時(shí)期的時(shí)代背景,分析和研究他們劇作中最具代表性的女性形象,歸納和總結(jié)在這一特定的歷史時(shí)期愛(ài)爾蘭戲劇中的女性形象所呈現(xiàn)出的獨(dú)特風(fēng)貌和總體特征,從而展示這一時(shí)期愛(ài)爾蘭戲劇所具有的歷史淵源、文化內(nèi)涵和社會(huì)價(jià)值。本文第一部分主要的內(nèi)容是論述愛(ài)爾蘭與英國(guó)的歷史文化淵源及愛(ài)爾蘭文藝復(fù)興的歷史背景。第二、三、四、五部分分別論述的是各劇作家代表作中的女性形象。四位風(fēng)格迥異的劇作家創(chuàng)作出多種不同類(lèi)型的女性形象:葉芝的詩(shī)劇善于在神話傳說(shuō)中尋找題材,作品中許多女性都具有原型人物的特點(diǎn)。格雷戈里夫人劇作中的女性形象雖然大多缺乏自己理性的思維,但不乏一小部分仍具有獨(dú)立精神,她們對(duì)全劇的情節(jié)走向具有決定性作用。辛格的作品具有象征色彩,他筆下既有忍辱負(fù)重的傳統(tǒng)女性,也有顛覆傳統(tǒng)、個(gè)性分明且具有強(qiáng)烈反抗精神的女性形象。奧凱西筆下的女性,比同時(shí)期其他劇作家劇作中的女性形象更為寫(xiě)實(shí)。他更注重對(duì)于女性人物的刻畫(huà),歌頌了愛(ài)爾蘭文藝復(fù)興運(yùn)動(dòng)中雖處于苦難之中卻堅(jiān)韌不拔的女性。盡管該時(shí)期不同的劇作家對(duì)女性形象有迥然不同的呈現(xiàn)方式,但他們的作品表達(dá)的主題都是通過(guò)對(duì)愛(ài)爾蘭傳統(tǒng)文化的回歸和復(fù)興,喚醒愛(ài)爾蘭人的民族性,強(qiáng)化民族認(rèn)同感,確立自己的民族身份,以此對(duì)英國(guó)殖民文化進(jìn)行抵抗。通過(guò)這些女性形象可以看出整個(gè)愛(ài)爾蘭作家群在該時(shí)期對(duì)于民族身份塑造的整體狀態(tài)。筆者拋磚引玉,女性形象的研究?jī)H僅是愛(ài)爾蘭戲劇研究的一個(gè)支流,但從此視角我們可以窺視愛(ài)爾蘭文藝復(fù)興時(shí)期的戲劇全貌,進(jìn)而對(duì)愛(ài)爾蘭文藝復(fù)興時(shí)期的戲劇運(yùn)動(dòng)及影響有著更為深刻的認(rèn)識(shí)。
[Abstract]:Ireland as an area of only eighty thousand square kilometers, about four million of the population of the island, the area even more than many states are small, but the emergence of many outstanding poet, writer and playwright, especially in the Irish Renaissance. For example: Yeats, Singer, Mrs. Gregory, Okesi, Joyce, Bernard Shaw, Wilde. Many of them became the representative of the world literature classics, and this time the drama can be said to represent the highest achievements of Irish literature field. The Irish Renaissance of the four most important playwright Yeats, Mrs. Gregory, Singer and Okesi as the emphasis of drama, with Irish Renaissance the background, analysis and Research on the female images in their works the most representative, summed up in this particular historical period of Irish Drama The unique style and the overall characteristics of the image of women in the show, which show the history of this period Irish drama has the cultural connotation and social value. In the first part of the main content is about the historical and cultural origins of Ireland and the UK and Irish Renaissance history. Second, third, four, five respectively. This is the image of women as the representative playwright. Four different styles of playwrights in a variety of different types of female images in Yeats's Drama: good looking for themes in the myths and legends, characteristics of works many women are archetypal characters. The female image of Mrs Gregory plays although most lack their own rational thinking, but there is still a small part of the independent spirit, they plot to play a decisive role. Singer's works have symbolic colors, he Both the traditional female bear pen, also to subvert the traditional image of women, distinct personality and strong rebellious spirit. Okesi's female is more realistic than the female image at the same time other playwrights plays. He pays more attention to the depiction of female characters, the song Ode to the Irish Renaissance is but the suffering of women. Although the firm and indomitable period of different images of women plays are totally different styles of presentation, but the expression of their works is the subject through the regression and the revival of Irish traditional culture, arouse national of the Irish people, strengthen the sense of national identity, to establish their own national identity, as the British colonial culture resistance. Through these female images can be seen throughout the Irish writers in the period of the overall state of national identity. The author cast a brick to attract jade, The study of women's image is only a tributary of Irish drama research. From this perspective, we can peep at the full play of Irish Renaissance, and further understand the dramatic movement and influence of Irish Renaissance.

【學(xué)位授予單位】：云南藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：I562.073

【相似文獻(xiàn)】

相關(guān)期刊論文 前5條

1 陳麗;;西方文論關(guān)鍵詞愛(ài)爾蘭文藝復(fù)興[J];外國(guó)文學(xué);2013年01期

2 孫惠柱;;“國(guó)劇運(yùn)動(dòng)”和愛(ài)爾蘭文藝復(fù)興的聯(lián)想[J];劇作家;2013年03期

3 約翰·格羅斯;丁信善;;一個(gè)被遺忘了的愛(ài)爾蘭文藝復(fù)興時(shí)期的女作家——評(píng)《格雷戈里夫人傳》[J];文化譯叢;1986年06期

4 李培鋒;愛(ài)爾蘭文藝復(fù)興運(yùn)動(dòng)的歷史主義解讀——評(píng)《從本土走向世界——愛(ài)爾蘭文藝復(fù)興運(yùn)動(dòng)研究》[J];中國(guó)圖書(shū)評(píng)論;2003年06期

5 毛俊玉;;愛(ài)情的朝圣者[J];視野;2010年05期

相關(guān)重要報(bào)紙文章 前1條

1 人類(lèi)表演學(xué)教授 孫惠柱;“國(guó)劇運(yùn)動(dòng)”、愛(ài)爾蘭和莫言作品[N];文匯報(bào);2012年

相關(guān)碩士學(xué)位論文 前2條

1 肖雨;愛(ài)爾蘭文藝復(fù)興時(shí)期戲劇中的女性形象研究[D];云南藝術(shù)學(xué)院;2017年

2 高琳;論愛(ài)爾蘭文藝復(fù)興時(shí)期戲劇中的英雄原型[D];廣西師范大學(xué);2010年

，

本文編號(hào)：1406689