【摘要】：路易吉·皮蘭德婁(Luigi Pirandello,1867-1936)是意大利一位非常多產(chǎn)的劇作家、小說(shuō)家,1934年因其戲劇成就獲諾貝爾文學(xué)獎(jiǎng)。他的戲劇作品通過(guò)巧妙的戲劇結(jié)構(gòu)和極強(qiáng)的哲思性,呈現(xiàn)出了一個(gè)由自我鏡像構(gòu)成的“鏡像迷宮”,從而體現(xiàn)出了皮蘭德婁對(duì)于自我的關(guān)注和思考。本篇論文從皮蘭德婁的四部戲劇作品《尋找自我》《六個(gè)尋找作者的劇中人》《亨利第四》和《給赤身裸體者穿上衣服》出發(fā),分析這個(gè)“鏡像迷宮”的形成和特點(diǎn),并結(jié)合拉康的鏡像理論,探討在這樣的“鏡像迷宮”中人的處境,以及“鏡像迷宮”帶給讀者和觀眾的思考。為此,本篇論文除引言和結(jié)語(yǔ)分為四個(gè)部分:第一部分從文學(xué)現(xiàn)象入手,主要分析文學(xué)史中“鏡子”現(xiàn)象的要素和特點(diǎn),以及皮蘭德婁的戲劇作品因其戲劇的獨(dú)特性而在此基礎(chǔ)上形成更為獨(dú)特的“鏡像迷宮”。第二部分主要分析“鏡像迷宮”是如何建構(gòu)起來(lái)的。針對(duì)皮蘭德婁四部戲劇作品,將作品中充當(dāng)“鏡子”的行為分類符號(hào)化,定義語(yǔ)言文字行為系鏡子a,表演再創(chuàng)作行為系鏡子b,兩面鏡子相對(duì)而立由此建構(gòu)出“鏡像迷宮”的框架以具體分析作品中形成的諸多鏡像及聯(lián)系。第三部分主要分析人在“鏡像迷宮”中尋找自我的困境。結(jié)合拉康的鏡像階段與能指理論,從鏡像階段、言說(shuō)、扮演行為三個(gè)層面討論主體的迷失,并分析對(duì)于主體“尋找即失去”的過(guò)程及與主體“相遇即失去”的瞬間。第四部分主要探討如何消解“鏡像迷宮”。通過(guò)將“在鏡像中尋找自我”的問(wèn)題回溯到施動(dòng)者“我”與客體“我”的對(duì)立上,以與卡夫卡《城堡》和董啟章《安卓珍尼》的比較為觀照,分析如何在圓融的狀態(tài)下,用生命消解這個(gè)迷宮。
[Abstract]:Luigi Pirandello,1867-1936, a prolific Italian playwright and novelist, won the Nobel Prize for Literature in 1934 for his dramatic achievements. His dramatic works show a "image maze" composed of self-mirroring through clever dramatic structure and extremely philosophical thinking, thus reflecting Pilandro's concern and thinking about himself. This thesis starts from four dramatic works by Pillandello, "looking for oneself", "six dramas seeking authors," Henry IV "and" dressing naked people ", and analyzes the formation and characteristics of this" image maze ". Combined with Lacan's mirror image theory, this paper discusses the situation of people in this kind of "image maze" and the thinking of "image maze" to readers and audience. Therefore, in addition to the introduction and conclusion, this paper is divided into four parts: the first part, starting with the literary phenomenon, mainly analyzes the elements and characteristics of the "mirror" phenomenon in the history of literature. On the basis of the unique drama works of Pillandello, a more unique "image maze" is formed. The second part mainly analyzes how the image maze is constructed. In view of the four dramatic works of Pilandello, the author classifies and symbolizes the behavior which acts as a "mirror" in his works. The definition of language behavior is a mirror, the performance re-creation behavior is a mirror b, and the two mirrors stand opposite each other. Thus, the frame of "image maze" is constructed to analyze the many images and connections formed in the works. The third part mainly analyzes the dilemma of finding oneself in Mirror Labyrinth. Combined with Lacan's mirror stage and signifier theory, this paper discusses the loss of the subject from three aspects of mirror stage, speech and acting behavior, and analyzes the process of "seeking and losing" for the subject and the moment of "meeting or losing" with the subject. The fourth part mainly discusses how to solve the mirror maze. By looking back at the question of "finding self in the mirror image" to the opposites between the "I" and the "I" of the object, and taking the comparison with Kafka's Castle and Dong Qizhang's "Android Jeanne" as a reflection, this paper analyzes how to be in a harmonious state. Eliminate the labyrinth with life.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I546.06

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相關(guān)期刊論文 前1條

1 孫惠柱;現(xiàn)代戲劇的三大體系與面具/臉譜[J];戲劇藝術(shù);2000年04期

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本文編號(hào)：2240609