论贝克特早期四部剧作中记忆的认知及呈现  

Memory and Its Representation in Samuel Beckett's Four Early Plays

作　　者：施清婧[1] 

机构地区：[1]南京大学外国语学院英语系

出　　处：《当代外国文学》2012年第4期39-45,共7页Contemporary Foreign Literature

摘　　要：记忆是贝克特戏剧的重要主题之一。本文通过对其早期四部剧作《等待戈多》、《终局》、《克拉普的最后一盘录音带》和《快乐的日子》里的记忆呈现进行考察,指出贝克特不仅在文本上对记忆的可靠性进行了根本性颠覆,而且在舞台叙事、表演方面借助元戏剧等手法和在舞台空间中对现代科技的运用与反思实现了记忆在实际操作层面上的创新,体现了从现代主义向后现代主义"记忆"的过渡。Memory is one of the important themes of Samuel Beckett's works.Focusing on Waiting for Godot,Endgame,Krapp's Last Tape,and Happy Days,this article explores Beckett's philosophical interest in the unreliability of memory through analyzing his use of the meta-theatrical and modern technological devices harnessed to the theme of memory.It argues that the changing concept of memory in the transition from modern to post-modern theatre can be detected in Beckett's early dramas.

关 键 词：贝克特 戏剧 记忆 后现代 

分 类 号：I562.073[文学—其他各国文学]