从哈姆雷特看疯癫的审美意义  

Aesthetic Meaning of Madness Reflected from Hamlet

作　　者：余莉[1] 

机构地区：[1]兰州交通大学外国语学院,甘肃兰州730070

出　　处：《河南师范大学学报（哲学社会科学版）》2009年第1期228-231,共4页Journal of Henan Normal University(Philosophy and Social Sciences)

摘　　要：福柯认为,疯癫是人类最原始欲望的野性表现。当人放纵其疯癫的专横时,他就与世界的隐秘的必然性面对面了。因此疯癫成为现当代西方哲学与文学批评领域中一个十分重要的概念。哈姆雷特正是因其沉浸于疯癫的幻境当中,与现实世界完全隔离开来,才对人生与世界的本质做出了洞若观火的思考与判断。也正为此,哈姆雷特的疯癫摆脱了单纯的病理症状,体现出了强烈的审美意义。而且由于疾病的隐喻意义在现代人眼中得到进一步加强,哈姆雷特的疯癫对处于技术钳制下的现代人具有极强的启示意义。According to Foucault, madness is the wild form of expression of man＇s primitive desire. Man is face to face with the necessity of the world concealed to others when he indulges himself in madness. Therefore, madness has become an important concept in the contemporary western philosophy and literary criticism. It is because Hamlet immersed himself in the illusion caused by madness that he could isolate himself from the real world and make a deep reflection and sound judgment about the nature of life and world. And it is also for this reason that Hamlet＇s madness is beyond pathological sense, but presents a strong aesthetic meaning instead. Furthermore, since the metaphoric sense of disease has attracted more attention from modern people, Hamlet＇s madness provides significant inspirations for the modern people under the control of technology.

关 键 词：哈姆雷特 疯癫 审美意义 隐喻 

分 类 号：I106.4[文学—世界文学]