神话重述:论《奥德赛》背景前的《伊塔刻》  

Retelling the Myth:Ithaka with Odyssey as Its Background

作　　者：谢建文[1] 曹霞[2] 

机构地区：[1]上海外国语大学德语系,上海200083 [2]湘潭大学外国语学院,湖南湘潭411105

出　　处：《中国比较文学》2009年第2期111-125,共15页Comparative Literature in China

基　　金：国家社科基金项目“德语后现代文学研究”(07BWW019)的阶段性成果之一

摘　　要：博托·施特劳斯的剧本《伊塔刻》与荷马史诗《奥德赛》联系紧密。施特劳斯甚至说过：“这是由阅读向剧本转换的一种翻译。”具体的相似性关系，主要见之于情节模式、人物个性、暴力主题和神定逻辑的处理。不过，施特劳斯的变异处理更有意味。其中，珀涅罗珀“人性的姿态”，把奥德修斯作为一个人而不是作为一个“神一般的”英雄来表现，暴力场面的间接化处理，对神谕之下和解之约的新解，颇值得关注。向神话靠拢，在施特劳斯这里，意在将理性逻辑之下的现代人至少是一时携往神话与本源，内中潜藏着与“当代的全面统制”相对抗的思想动机：从本质上讲，也体现了一种多元性价值与美学诉求。Botho Strauss＇ drama Ithaka bears close relation to Homer＇s Odyssey. The author even said, ＂it＇s a translation to a certain extent.＂ The similarity of lthaka to Odyssey is found in the development of the plot, the portrayal of characters and also the theme of the violence and the domination of the gods. But Strauss＇ defamiliarizing treatment seems to be more significant. For example, it needs paying close attention to the ＂human gesture＂ of Penelope, the expression of Odysseus not as godlike hero but as an ordinary person, the indirect description of violent scenes and the interpretation of the peace treaty. For Botho Strauss, the closing upon mythology means that people in modem rational society can at least tentatively return to their source. Furthermore, it connotes an opposition to ＂the total dominion of the present age＂ and manifests his orientation of value and aesthetic pursuit represented in the plurality.

关 键 词：博托·施特劳斯 《伊塔刻》《奥德赛》 神话重述 本源 

分 类 号：I106[文学—世界文学]