众声的狂欢乌托邦：《李尔王》的巴赫金式解读

发布时间：2019-06-11 04:49

【摘要】：20世纪西方著名文艺理论家巴赫金在跨学科研究的基础上创立了巴赫金学说，其思想内核可以概括成“对话主义”、“复调小说理论”和“狂欢化诗学”这三条精髓。复调理论是在《陀思妥耶夫斯基诗学问题》一书中最早提出的，它为解读莎士比亚戏剧《李尔王》提供了新的批评视角。文艺复兴时期的不朽名著《李尔王》，一直被视作文学史上最伟大的悲剧之一。然而，这部作品的语言艺术、文本建构和精神蕴涵处处充溢着对话关系、复调叙事和狂欢底色，它交织着多元声音的合奏与对话,展现出巴赫金意义上的众声的狂欢交响曲。因此，这为我们试用巴赫金学说对莎剧《李尔王》进行重新解读提供了一个范本，借以探索复调狂欢化乌托邦的全新人类关系，，从而揭示戏剧背后蕴藏的深远的社会意义。本文旨在揭示李尔王意识中的“权威话语”与“乞丐话语”的双重主体重叠、爱德蒙等人内心“神性自我”与“权欲自我”的争锋；还从弄人视角来审视李尔王的一言一行；并邀请观众对剧作展开自由阐释。笔者试图展示李尔王的不同自我之间、李尔王与剧中人物之间、观众与观众、观众与作品之间形成的多重复调关系；还有对李尔王等人的加冕与脱冕，肯特伯爵那种富有庄谐体语言风格的对话，李尔王、肯特的咒骂语中显露出“物质—肉体”的怪诞意象，预示着死亡与新生的更替等等情节，这些都是莎士比亚其他剧作所无法比拟的。因此，本文认为,该剧本的语言和结构呈现出鲜明多样的复调叙事特征，共时对话的双声性、人物意识的多声部性、对话的狂欢化性贯穿作品始终。综上所述，各部分之间的“对话”丰富了文本的内容，使整个故事充满了张力。因此，本学位论文旨在探索作品本身折射出丰富的思想内涵，也使得我们对戏剧中复调存在的可能性作了进一步探讨。本文共分六章。第一章简要介绍莎士比亚生平、时代及其最具影响力的剧作《李尔王》，然后总结了中外文学批评界对这一作品的研究评论；第二章阐述了巴赫金的背景知识及其学术思想；第三章从“复调小说理论”角度探讨了这一剧作中存在的共时性的“双声语”对话现象；第四章从“对话主义”视角关注戏剧中人物的多声部意识；第五章依据“狂欢化诗学”探索了剧本出现的狂欢化时空中的广场语言和复调对话；第六章得出结论：这部戏剧中的各种人物在各个层面、各类关系之中以多种方式所进行的复调狂欢化对话，为我们唱响了一曲莎士比亚时代英格兰社会欢歌，也有助于我们建构乌托邦理想和重建人类文明。
[Abstract]:Bachtin, a famous western literary theorist in the 20th century, founded Bachtin's theory on the basis of interdisciplinary research. the core of his thought can be summarized as three quintessence: "dialogism", "polyphonic novel theory" and "carnival poetics". Polyphonic theory was first put forward in Dostoevsky's Poetics, which provides a new critical perspective for the interpretation of Shakespeare's play King Lear. King Lear, an immortal masterpiece of the Renaissance, has always been regarded as one of the greatest tragedies in the history of literature. However, the language art, text construction and spiritual implication of this work are filled with dialogue, polyphonic narration and carnival background everywhere. It is intertwined with the ensemble and dialogue of multiple voices, showing the Carnival symphony of all voices in Bachkin's sense. Therefore, this provides a model for us to re-interpret Shakespeare's King Lear by using Bachkin's theory, so as to explore the new human relationship of polyphonic carnival utopia, so as to reveal the far-reaching social significance behind the drama. The purpose of this paper is to reveal the overlap between "authoritative discourse" and "beggar discourse" in King Lear's consciousness, the struggle between "divine self" and "power desire self" in the heart of Edmond et al., and to examine King Lear's words and deeds from the perspective of making people. And invite the audience to carry out free interpretation of the play. The author attempts to show the repeated relationship between King Lear and the characters in the play, between the audience and the audience, and between the audience and the works. There is also the coronation and removal of the crown of King Lear and others, the dialogue of the count of Kent in the style of Zhuang and harmonious language, and the grotesque image of "material-body" in the curses of King Lear and Kent, which foreshadowed the plot of death and the replacement of new life, and so on. These are incomparable to Shakespeare's other plays. Therefore, this paper holds that the language and structure of the play show distinct and diverse polyphonic narrative characteristics, the double tone of synchronic dialogue, the multivocal nature of character consciousness, and the carnival of dialogue throughout the work. To sum up, the dialogue between the various parts enriches the content of the text and makes the whole story full of tension. Therefore, the purpose of this dissertation is to explore the rich ideological connotation of the work itself, and to further explore the possibility of polyphonic existence in drama. This paper is divided into six chapters. The first chapter briefly introduces Shakespeare's life, the times and his most influential play, King Lear, and then summarizes the research comments on this work by Chinese and foreign literary critics. The second chapter expounds Bachkin's background knowledge and academic thought. The third chapter discusses the synchronic "double language" dialogue phenomenon in this play from the perspective of "polyphonic novel theory", the fourth chapter pays attention to the multi-tone consciousness of the characters in the drama from the perspective of "dialogism", and discusses the synchronic "double language" dialogue phenomenon in this play from the perspective of "polyphonic novel theory". The fifth chapter explores the square language and polyphonic dialogue in carnival time and space according to Carnival Poetics. The sixth chapter draws the conclusion that the polyphonic carnival dialogue between the various characters in this play at all levels and in various relationships sings a song of English society in Shakespeare's time. It also helps us to construct utopian ideals and reconstruct human civilization.
【学位授予单位】：合肥工业大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I561.073

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