从舞台到页面:本·琼生与英国戏剧经典生成  

From Stage to Page:Ben Jonson and British Dramatic Canon Formation

作　　者：王永梅[1] 刘立辉[1] 

机构地区：[1]西南大学外国语学院

出　　处：《外国文学研究》2012年第5期49-56,共8页Foreign Literature Studies

基　　金：国家社科基金项目"英国十六;十七世纪巴罗克文学研究"【项目批号:07BWW014】的阶段性成

摘　　要：本文从琼生的反剧场主义倾向出发,探讨他在出版自己剧作中所作的努力与英国戏剧经典生成的关系。通过印刷出版,琼生赋予剧作稳定而恒久的权威,使之摆脱了当局、演员和观众的无情"扭曲"、"强暴"和"谋杀"行为,为读者和评论家提供了一种可供研究和沉思的批评对象,使戏剧从舞台走向页面,成为一种文学体裁,而非单纯的表演体裁。随着戏剧作为文学的名望提升,其经典化过程得以开始,琼生《作品集》和莎士比亚第一对开本、博蒙特和弗莱彻作品集都是英国戏剧经典化的代表。琼生通过印刷促使英国戏剧经典的生成源于个人、社会、宗教和学术等原因。Based on Ben Jonson＇ s antitheatricalism, this article explores the relationship between Jonson＇s efforts to print his dramas and British dramatic canon formation. Print endows dramas with a stable and fixed authority, helping to get rid of the merciless acts of ＂twist＂, ＂violence＂, and ＂murder＂ of the authorities, actors and audiences towards drama, and to set a critical text for readers and critics to study and meditate on. Thus, drama is transferred from stage to page, acquiring its status as a literary genre, instead of a mere performance one. As drama＇ s literary reputation ascends, British dramatic canonization begins its process. Jonson＇ s Works, Shakespeare＇ s First Folio, Beaumont and Fletcher＇ s Works are such representatives. Jonson＇ s efforts in this process result from personal, social, religious and intellectual reasons.

关 键 词：本·琼生 反剧场主义 英国戏剧 经典生成 

分 类 号：I561.073[文学—其他各国文学]