本文選題：奧尼爾 + 《悲悼》��； 參考：《山東師范大學》2013年碩士論文

【摘要】：尤金·奧尼爾被稱為“美國的莎士比亞”，他是一位以新穎動人的形式，對一種最古老的藝術作出了創(chuàng)造性貢獻的人，是在歐洲舞臺上享受普遍聲譽的第一位美國劇作家。他的成就不僅僅是沖破舊的傳統(tǒng)，創(chuàng)作了大量的現(xiàn)代戲劇，更重要的是揭開了美國戲劇發(fā)展史上的新篇章，開創(chuàng)了美國真正意義上的嚴肅戲劇。作為一名現(xiàn)代戲劇家，奧尼爾十分擅長向戲劇前輩借鑒學習，對古希臘悲劇尤為推崇，，除此之外，奧尼爾還不斷地吸收20世紀的各種流派文學理論，將古今完美的結合，使得他的許多作品都呈現(xiàn)出原始與現(xiàn)代相結合的魅力。 取材于古希臘悲劇《俄瑞斯忒亞》的《悲悼》三部曲是奧尼爾創(chuàng)作中期的一部經典悲劇，在這一時期，奧尼爾依舊關注美國文化中存在的道德問題，但是戲劇表現(xiàn)的重點轉向了對悲劇人物自我心理體驗的探索。作家試圖傳達一種不同于傳統(tǒng)的古希臘命運悲劇的世界觀及生活態(tài)度，即在面對那些無可逃避的生活困境的情況下勇敢地直面人生這樣一種現(xiàn)代社會的正能量。所以，對劇中人物的細致分析是充分了解作家內心世界的一個很好的窗口。 作者通過描寫《悲悼》中悲劇人物在困境命運中的抗爭與毀滅揭示出人的自我破碎與社會文化之間的聯(lián)系，尤其擅長結合精神分析、面具等現(xiàn)代理論對古希臘人物原型進行大膽的改革，用文字手段去探索著人生的價值、生活的意義，賦予了古希臘悲劇現(xiàn)代內涵。本論文共分為三章，在細致分析劇本的基礎上，將作家塑造的人物按照其相似特征，分為三個類別分別進行闡述：與悲劇命運相抗爭的女主角萊維尼亞、克里斯汀，徹底毀滅的男主人公艾斯拉·孟南和奧林以及不可或缺的悲劇見證者孟南家的其他家庭成員和仆人，從這三個方向出發(fā)，分門別類的闡述作家通過不同的悲劇人物希望傳達給讀者的悲劇體驗、人生體驗。 第一章，以悲劇中的女性形象萊維尼亞和克里斯汀為論述主體，先是從悲劇人物的古希臘歷史原型入手，凸顯悲劇人物的現(xiàn)代面貌。分析了《悲悼》與《俄瑞斯忒亞》故事情節(jié)的異同，探討了奧尼爾的命運觀。其次，抨擊了作為愛爾蘭人精神支柱的清教主義，尤其是它在融入新英格蘭社會的過程中所宣揚的道德約束和禁欲主義對人性本能的壓抑和扭曲。表達了作者對于這兩個女性人物為追求自我解放而做出斗爭和犧牲的肯定。最后，通過分析悲劇女主角超越自我的強大意志和反叛社會的不屈信念，彰顯出古希臘式的崇高悲劇價值意義。 第二章，分析作品中男主人公孟南和奧林的悲劇形象，先從古希臘悲劇人物原型為背景切入，介紹現(xiàn)代悲劇中的人物設置。其次，通過創(chuàng)新運用面具這種藝術表現(xiàn)手法，展現(xiàn)悲劇人物孟南和奧林復雜的內心感受，同時也體現(xiàn)出了奧尼爾靈活地運用現(xiàn)代心理學、哲學理論，將這一古老的戲劇表演方式很好的融入到了現(xiàn)代劇當中。最后，以男主人公奧林為尋求精神解脫而選擇自我毀滅這一悲劇現(xiàn)實來肯定他身上具有的悲劇價值，傳達了作者對悲劇價值的感悟。 第三章，分析的是劇本中容易被人遺漏的次要的人物——孟南家的其他成員：老艾比、瑪利亞等祖輩以及孟南家的仆人和市民。這些次要人物的形象分析也是以往較少研究到的。通過細讀文本中關于未出場的人物和意象的描寫，概括了他們的存在對于悲劇主人公以及悲劇主題的作用。另外，奧尼爾還運用了古希臘的歌隊模式來烘托悲劇氣氛，深化主要人物的悲劇形象，意味深遠。
[Abstract]:Eugene ONeil is known as "Shakespeare of the United States". He is a new and creative person who has made a creative contribution to the oldest art. He is the first American playwright who enjoys the universal reputation on the European stage. His achievements are not only breaking through old traditions, creating a large number of modern dramas, but more important. It has uncovered a new chapter in the history of American drama and created a serious drama in the true sense of the United States. As a modern dramatist, O'neal is very good at learning from the predecessors of the theatre, especially in the ancient Greek tragedies. In addition, O'neal is also constantly absorbing the various literary theories of the twentieth Century, which will perfect the ancient and modern times. The combination of his works shows the charm of the combination of primitive and modern.
"Mourning > mourning > Trilogy" is a classic tragedy of O'neal's creation in the middle of the creation of the ancient Greek tragedy. In this period, O'neal still paid attention to the moral problems in American culture, but the focus of the drama turned to the exploration of the self psychological test of the tragic characters. The writer tried to convey a different form of tradition. The world outlook and life attitude of the tragedies of the fate of ancient Greece are brave to face the positive energy of a modern society in the face of the inescapable predicament of life. So the careful analysis of the characters in the play is a good window for the full understanding of the writer's inner world.
Through the description of the struggle and destruction of the tragic characters in the plight of the tragedies, the author reveals the relationship between human self breakage and social culture, and is especially good at combining the psychoanalysis, masks and other modern theories to reform the archetype of ancient Greek characters, to explore the value of life, the meaning of life, and the meaning of life. The modern connotation of ancient Greek tragedy is divided into three chapters. On the basis of the detailed analysis of the script, the characters portraged by the writers are divided into three categories according to their similar characteristics: the heroine Levi Nia, Kristen, the heroine Isla Monnan and Olin, which is completely destroyed by the tragic fate. The other family members and servants of MenAn's family, who can or lack the tragic witness, from these three directions, explain the tragic experience and life experience of the writers through different tragedies.
The first chapter, taking the female image of the tragedy as the main body of Revilla and Kristen, first begins with the archetype of the ancient Greek history of tragic characters and highlights the modern features of tragic characters. It analyses the similarities and differences between the mourning > and the Storyland, and discusses O'neal's view of fate. Secondly, it attacks the spirit of the Irish people. The Puritanism of the column, especially the moral restraint and the oppression and distortion of the instinct of human nature, advocated in the process of integration into the new England society, expressed the author's affirmation of the struggle and sacrifice of the two female characters in pursuit of self liberation. The unyielding belief of Zhi and rebellion demonstrates the value of ancient Greek sublime tragedy.
The second chapter is the analysis of the tragic image of Monan and olive in the works. First, from the background of the archetype of ancient Greek tragedies, the characters in modern tragedies are introduced. Secondly, through the creative use of masks, this artistic expression is used to show the complex inner feelings of the tragic characters Meng Nan and O Lin, as well as the embodiment of ONeil Ring. With the use of modern psychology and philosophical theory, the ancient theatrical performance was well integrated into the modern drama. Finally, the tragic value of his personal destruction was affirmed by the hero, the hero, to seek spiritual relief and the tragic reality of his self destruction.
The third chapter is the analysis of the minor characters, which are easily omitted in the script, the other members of the family of MenAn, the ancestors of old ABI, Maria, and the servants and citizens of the MenAn family. The image analysis of these minor characters is also less studied in the past. Their existence plays a role in the tragic hero and the tragic theme. In addition, O'neal also used the ancient Greek song team model to support the tragic atmosphere and deepen the tragic image of the main characters.
【學位授予單位】：山東師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：I712.073

【參考文獻】

相關期刊論文 前10條

1 張艷;;死亡與生存,現(xiàn)實與夢想——論奧尼爾戲劇人物的悲劇命運[J];安徽文學(下半月);2007年02期

2 楊述伊;;奧尼爾的神秘的力與弗洛伊德的無意識[J];白城師范學院學報;2010年01期

3 劉霞;;欲望下的一生——從《悲悼》看奧林的俄狄浦斯情結[J];安徽文學(下半月);2009年11期

4 萬俊;尤金·奧尼爾的現(xiàn)代悲劇人物觀及局限性[J];淮南師專學報;1999年04期

5 王扉;;《悲悼》中萊維尼亞的悲劇宿命[J];劇作家;2009年04期

6 樊曉君;;在罪惡中綻開的“惡之花”——《悲悼三部曲》女主人公萊維尼亞悲劇人生三部曲解讀[J];理論界;2010年12期

7 力勇;論《悲悼》主人公的悲劇性[J];四川外語學院學報;2003年01期

8 萬俊;尤金·奧尼爾戲劇人物的類型[J];上饒師專學報;2000年01期

9 孫e

本文編號：2050614