论《悲悼》对《俄瑞斯忒亚》的继承与超越

发布时间：2018-08-12 12:34

【摘要】：尤金·奥尼尔（EugeneO’Neill1888-1953)是美国现代戏剧的奠基者和缔造者，被誉为“美国戏剧之父”。他在一九三六年获得诺贝尔文学奖，跻身世界剧坛最优秀剧作家行列。奥尼尔深受古希腊悲剧的影响，他仿照埃斯库罗斯的《俄瑞斯忒亚》三部曲创作了现代悲剧《悲悼》三部曲。《悲悼》既有希腊悲剧的古代遗韵，又有现代心理悲剧的特点。本文拟从《悲悼》和《俄瑞斯忒亚》的比较中，在文本细读的基础上，对作品的母题、情节、人物和艺术手法等进行全面分析，从而深入探讨《悲悼》对《俄瑞斯忒亚》继承与超越。论文主体分为五个部分：绪论主要介绍国内外对于奥尼尔的研究现状，通过研究资料的综述指出至今还没有人在继承和超越方面细致分析奥尼尔的《悲悼》与《俄瑞斯忒亚》的关联性。对于这一问题的探讨对研究奥尼尔是十分必要的。第一章梳理“俄瑞斯忒亚”母题的流变。第一节介绍古希腊时期以“俄瑞斯忒亚”为母题创作的悲剧的产生，然后分析三大悲剧作家对这同一题材的不同处理。第二节介绍二十世纪以奥尼尔为代表的众多悲剧作家对于这一母题的现代阐释。第二章阐释《悲悼》对《俄瑞斯忒亚》的继承。首先，《悲悼》在悲剧命运方面对《俄瑞斯忒亚》有继承关系。其次，奥尼尔在戏剧艺术表现上借鉴了古希腊悲剧歌队的表演形式。第三章阐释《悲悼》对《俄瑞斯忒亚》的超越。第一，，《俄瑞斯忒亚》中的厄勒克特拉是个出场不多，性格简单的平面人物，而与之对应的《悲悼》的主角莱维妮亚是个极其复杂的人物，可以做更多元化的解读。第二，《俄瑞斯忒亚》中女性角色衰微，而《悲悼》则是女性角色所主导的，这与奥尼尔和时代对于女性的看法有关。第三，古希腊悲剧中的面具只是一种道具，奥尼尔则赋予《悲悼》中面具式表情更多的象征意义。第四，古希腊悲剧不注重对人物心理的挖掘，而奥尼尔在《悲悼》中利用现代精神分析学理论对现代人进行心理分析，以“恋父情结”、“恋母情结”为支点，写出了一部现代心理悲剧。第五部分为结语，全面总结《悲悼》对《俄瑞斯忒亚》的继承与超越。
[Abstract]:EugeneO'Neill1888-1953, the founder and founder of modern American drama, is known as the father of American drama. He won the Nobel Prize for Literature in 1936 and became one of the best dramatists in the world. O'Neill was deeply influenced by the ancient Greek tragedy. He created the modern tragedy "mourning" trilogy after Aeschylus'"Orestaia". "mourning" has both the ancient rhyme of Greek tragedy and the characteristics of modern psychological tragedy. From the comparison of mourning and Orestya, this paper makes a comprehensive analysis of the motif, plot, characters and artistic techniques of the works on the basis of careful reading of the text. In order to probe deeply into the inheritance and transcendence of "mourn" to "Orestaia". The main body of the thesis is divided into five parts: the introduction mainly introduces the current research situation of O'Neill at home and abroad. It is pointed out that no one has analyzed the relationship between O'Neill 's mourning and Orestya in terms of inheritance and transcendence. The discussion of this problem is necessary for the study of O'Neill. The first chapter combs the evolution of the motif of Orestaia. The first section introduces the creation of tragedy in ancient Greece under the theme of "Orestaia", and then analyzes the different treatment of the same subject by the three tragic writers. Section two introduces the modern interpretation of this motif by many tragic writers represented by O'Neill in the 20 th century. The second chapter explains the inheritance of mourning. First of all, mourning inherits Orestonia in the aspect of tragic fate. Secondly, O'Neill draws lessons from the performance form of the Greek tragic Song team in the performance of drama art. Chapter three explains the transcendence of mourning. First, Orestella is a plane figure with few appearances and a simple character, while the corresponding character of mourning is an extremely complex character, which can be interpreted in a more diversified way. Second, the decline of female characters in Orestya, while mourning is dominated by female characters, which is related to O'Neill 's and the times' view of women. Thirdly, the mask in the Greek tragedy is just a props, and O'Neill gives more symbolic meaning to the mask expression in mourning. Fourth, the tragedy of ancient Greece did not pay attention to the excavation of the characters' psychology. In mourning, O'Neill used the modern psychoanalysis theory to analyze modern people's psychology, taking "the complex of Father Love" and "complex of Love for Mother" as the fulcrum. Wrote a modern psychological tragedy. The fifth part is the conclusion, summing up the inheritance and transcendence of Orestonia.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I712.073

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