恶棍英雄：马洛的新型悲剧英雄

发布时间：2018-04-23 00:40

本文选题：克里斯托弗·马洛 + 恶棍英雄　；参考：《湖南师范大学》2014年博士论文

【摘要】：马洛是莎士比亚之前最重要的英国戏剧家,他对英国悲剧的形成和发展做出了极其重要的贡献。他是英国戏剧舞台上第一个用恶棍英雄作为悲剧主角的戏剧家。恶棍英雄人物影响深远,成为英国文学史上经典的类型人物。然而无论国内还是国外少有人对恶棍英雄做专题研究。本文在梳理现有评论的基础之上,以悲剧理论为指导,综合运用新批评、文化研究、心理分析等批评方法,深入分析帖木儿、浮士德和巴拉巴斯这三个恶棍英雄人物。恶棍英雄突破了古典悲剧理论关于悲剧英性格必须“善良”的限制,但并不能因此而否定其英雄性和悲剧性。这类人物往往产生于新旧价值观冲突之时,代表新的价值观和社会意识,因为与原有价值观发生激烈冲突而体现出强烈的道德争议性。他们的悲剧性和英雄性正体现在不惜一切代价,甚至生命,为新的价值观正名。马洛的恶棍英雄产生于文艺复兴时期人文主义与传统基督教价值观冲突之时,深刻地反映了新旧观念的冲突及其对人的作用。本论文除了绪论和结语外,共分为四章。绪论包括文献综述、对恶棍英雄内涵的讨论和界定、对论文结构、基本内容和观点的介绍。论文第一章分析对比马洛剧中的恶棍英雄与英国中世纪宗教剧以及塞内加悲剧中恶棍角色的异同,指出恶棍英雄形象对传统宗教剧以及塞内加悲剧中“恶”角的继承与超越。同时指出恶棍英雄的出现与文艺复兴和宗教改革引发的人文主义有密切关系。第二章分析马洛如何将帖木儿塑造成恶棍英雄。帖木儿是个有“抱负”的征服者,这种“抱负”被基督教观念强烈谴责。但马洛使帖木儿成为一个因为抱负而取得辉煌战绩、广受将士爱戴的战争英雄。通过彰显帖木儿的抱负,马洛高度颂扬了人文主义精神。《帖木儿》的悲剧冲突在于他不断追求超越自我与人固有的局限性之间的矛盾。马洛将帖木儿塑造成文艺复兴时期理想君主式的恶棍英雄。第三章讨论马洛如何抵制对犹太人的类型化塑造,将巴拉巴斯表现为一个恶棍英雄。巴拉巴斯因为既是犹太人,又被认为是马基雅维利式的人物,经常被误解为“恶”的代表。然而他复杂的形象在当时的历史语境中超越并颠覆了这种简单的阐释。同时,巴拉巴斯追求财富是资本主义精神的表现,而不是传统基督教观念所谴责的“贪婪”；他是资本时代的恶棍英雄。与巴拉巴斯对立的基督徒总督以宗教名义没收他的财产,并非“善”的代表,而是宗教压迫的代言人,因此巴拉巴斯夺回财产的行为成了反抗宗教压迫的正义行为。第四章探寻马洛如何将浮士德塑造成恶棍英雄。浮士德经常被误解成为享乐而背叛上帝的罪人。马洛通过将他塑造成一个为追求知识不惜下地狱的英雄抵制了这种解读。浮士德直接挑战基督教的知识禁令,他明知背叛上帝的悲剧结局仍然坚持自己的选择,显示了大无畏的勇气。浮士德的矛盾和冲突全部在精神层面展开,他在绝望中饱受折磨,他对地狱满怀恐惧,这种恐惧象征内化的基督教观念。另一方面,马洛通过展现浮士德的理想与他实际行为的差距,揭示了社会现实对人的意识和自我实现的制约。结论认为,马洛的恶棍英雄人物和表现这种人物的新的戏剧手法给英国舞台带来了极大的动力,直接影响莎士比亚创造出麦克白、理查三世等人物。
[Abstract]:Marlow was the most important British dramatist before Shakespeare. He made an extremely important contribution to the formation and development of the British tragedy. He was the first dramatist with a villain hero on the stage of British drama. The villain hero has far-reaching influence and became a classic type of British literary history. However, no matter what it is at home On the basis of combing the existing commentary, this paper, based on the current review, guided by the theory of tragedy, comprehensively applied the critical methods of new criticism, cultural research and psychological analysis to analyze the three villains and heroes of thine, Faust and Barabas.
The villain hero breaks through the classical tragedy theory that the tragic English character must be "good", but it cannot deny its heroism and tragedy. These characters often arise from the conflict of the old and new values, and represent the new values and social consciousness, which embodies a strong conflict with the original values. Their tragic and heroic nature is reflected at all costs, even life, for new values. When Marlowe's villain hero comes from the conflict between the Renaissance humanism and the traditional Christian values, it profoundly reflects the inrush of the old and the old ideas and their role to the people.
In addition to the introduction and conclusion, this paper is divided into four chapters. The introduction includes the literature review, the discussion and definition of the connotations of the villain hero, and the introduction of the structure, basic contents and views of the thesis.
The first chapter analyzes and compares the similarities and differences between the villain hero, the Medieval Religious Drama and the scoundrels in the Seneca tragedy in Marlowe plays, and points out the inheritance and Transcendence of the image of the villain hero to the traditional religious drama and the "evil" angle in the tragedy of Seneca. There is a close relationship between literary doctrine.
The second chapter analyzes how Marlowe makes thther into a villain hero. Thther is a "ambition" conqueror, and this "ambition" is strongly condemned by the Christian idea. But Marlowe makes thant a great battle for his ambition and a war that is widely loved by the general. The tragedy of the tragedy lies in his constant pursuit of the contradiction between the transcendence of self and the inherent limitations of the man. Marlowe portrays thelwood as a hero of the ideal monarchy of the Renaissance.
The third chapter discusses how Marlowe resisted the typology of the Jews and represented Barabas as a villain hero. Barabas, who was both a Jew and a Machiavelli type, was often misunderstood as a representative of "evil". However, his complex image surpassed and subverted this Jane in the historical context of the time. At the same time, Barabas's pursuit of wealth is a manifestation of the spirit of capitalism, not the "greed" condemned by the traditional Christian concept; he is a villain hero in the capital age. The Christian governor against Barabas confiscated his property in the name of religion, not a "good" representative, but a spokesperson for religious oppression. This Barabas' act of recapture property has become a just act against religious oppression.
The fourth chapter explores how Marlowe makes Faust plastic to a villain hero. Faust is often misunderstood as a hedonistic culprit. Marlowe resisted this interpretation by portraying him as a hero who sought knowledge to go to hell. Faust challenged the Christian ban on knowledge, and he knew betrayed the tragic end of God. He still persisted in his choice, showing great courage. The contradiction and conflict of Faust were all unfolding in the spiritual level. He was tortured in despair. He was full of fear of hell. This fear symbolized the internalized Christian idea. On the other hand, Marlowe revealed the society by showing the gap between the ideal of the floating scholar and his actual behavior. Reality restricts human consciousness and self realization.
The conclusion is that Marlowe's villain hero and the new theatrical techniques that show the characters have brought great impetus to the British stage, which directly affects Shakespeare's creation of Macbeth, Richard Sans and other characters.

【学位授予单位】：湖南师范大学
【学位级别】：博士
【学位授予年份】：2014
【分类号】：I561.073

【共引文献】