《大神布朗》中“面具”下的创伤记忆  

On the Implications of Traumatic Memories of Masked Humanity in O’Neill’s The Great God Brown

作　　者：卫岭[1] 

机构地区：[1]苏州大学外国语学院

出　　处：《外国文学研究》2009年第6期127-132,共6页Foreign Literature Studies

基　　金：江苏省教育厅高校哲学社会科学研究项目的阶段性成果【项目编号:05SJD751006】

摘　　要：尤金·奥尼尔是美国戏剧文学史上的一座丰碑,他对戏剧进行了实验与大胆革新,表现手法层出不穷,尤其体现在《大神布朗》等作品中。这些风格、主题内容迥异的剧作实质上提供了读者对剧作家个人生活和经历的更为深刻的理解。奥尼尔的悲剧创作与他的创伤经历密不可分,创伤记忆成为他的心理动力和创作资源,其独特的人生经历和创伤记忆对于面具剧《大神布朗》的创作具有深刻的影响。本文分析了奥尼尔的兄弟关系、恋母情结以及母亲形象对这部剧作的影响,揭示了面具下的创伤记忆和复杂而真实的人性。剧作反映了作家曲折的思想情感及其自我拯救的不懈努力,并借助于面具艺术升华了对于人生意义的思考。As a monumental figure in American drama history, Eugene O＇ Neill conducted various experiments and made diversified approaches in tragedy writing, particularly in the middle stage of his literary production. His works, although varying in style and theme, provide readers a perspective on and deep understanding of his personal life and experience. His writing of tragedies ties in closely to his own traumatic experience. In the course of his writing career, trauma has become his psychological dynamic and source of literary production. His unique life experience and traumatic memories have tremendous influence on the writing of the mask play The Great God Brown. The thesis aims to explore the effect of the interrelationships between O＇Neill and his brother, the brothers＇ Oedipus complex and the ambiguous maternal image of the playwright upon the production and to reveal the traumatic memories and the convoluted yet true story about human nature behind the masks. The play reflects O＇ Neill＇ s complicated inner feelings and his efforts of serf-salvation, which elevates his views about the meaning of life by the medium of mask.

关 键 词：尤金·奥尼尔 《大神布朗》 面具 创伤记忆 

分 类 号：I712.073[文学—其他各国文学]