本文關(guān)鍵詞：元漫畫:評(píng)繪本小說(shuō)《睡魔》對(duì)莎士比亞的重構(gòu)　出處：《外語(yǔ)教學(xué)》2016年03期 　論文類型：期刊論文

  更多相關(guān)文章： 尼爾·蓋曼 《睡魔》 繪本小說(shuō) 元漫畫 莎士比亞

【摘要】：尼爾·蓋曼在其史詩(shī)級(jí)繪本小說(shuō)《睡魔》中,以一種元小說(shuō)評(píng)論式的漫畫想象對(duì)莎士比亞生平史實(shí)與戲劇創(chuàng)作過(guò)程進(jìn)行再創(chuàng)作,以繪本小說(shuō)跨媒介指涉產(chǎn)生的雙重互文,將莎士比亞及其劇作同時(shí)置于歷史事實(shí)與虛幻夢(mèng)境中,從而消解了真實(shí)與虛構(gòu)之間的界限,實(shí)現(xiàn)了對(duì)經(jīng)典符號(hào)化的莎士比亞的浮士德式"變形改寫",通過(guò)對(duì)劇作家本人亦虛亦實(shí)的書寫,從而進(jìn)一步探討莎士比亞及其劇作作為永恒的文化符號(hào)所折射出的哲學(xué)思考。
[Abstract]:In his epic picture book, the Sleeper, Neil Gaiman rewrote Shakespeare's historical facts and dramatic creation with a metafiction of comic imagination. The double intertextuality produced by the cross-media intertextuality of picture book novels puts Shakespeare and his plays in both historical facts and illusory dreams, thus dissolving the boundary between reality and fiction. Realized the classical symbolization of Shakespeare's Faustian "deformation rewriting", through the playwright himself is also fictitious and real writing. Thus, the philosophical reflection reflected by Shakespeare and his plays as eternal cultural symbols is further discussed.
【作者單位】： 北京科技大學(xué)外國(guó)語(yǔ)學(xué)院;
【分類號(hào)】：I712.074
【正文快照】： 1.引言Richard Rorty把哲學(xué)史劃分為一系列的“轉(zhuǎn)向”(Mitchell 1994:11),繼“語(yǔ)言學(xué)轉(zhuǎn)向”后,W.J.T.Mitch-ell又提出了“圖像轉(zhuǎn)向”(pictorial turn),作為一個(gè)“后語(yǔ)言學(xué)、后符號(hào)學(xué)時(shí)代對(duì)圖像作為視覺(jué)、國(guó)家機(jī)器、話語(yǔ)、身體之間復(fù)雜的交互作用的重新發(fā)現(xiàn),是將“觀看”(spect，

本文編號(hào)：1436609