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作 者:陈溪[1]
出 处:《长江学术》2014年第2期49-55,共7页Yangtze River Academic
基 金:中国博士后科学基金第52批资助项目;编号:2010M521455
摘 要:荒诞派戏剧传统批评话语对《等待戈多》的解析,过多集中于"戈多"可能对应的实体及具体象征意义之辩,"戈多"的永不出现也因落入存在主义哲学式的阐释窠臼而成为人生之空洞、绝望和无意义的象征。然而,"戈多"并非抽象静止的概念,而是在戏剧式语言交流中被逐步建构起来的复杂而有活力的能指。维特根斯坦后期哲学对于语言误用的澄清以及对与"期待"等相关的精神活动的语言分析,启示我们将关注的重心从"戈多"转向"等待",从指称对象转向语言用法。"等待戈多"的精神意义并不在于"戈多"是谁、到来与否和能否实现救赎,而在于"等待"以其特定的语法形式和思维方式为我们建立和维持精神世界与意义之域的联系,显示出人类在期待重获精神信仰的短暂停滞中无法抛却的尊严与勇气。In the traditional critical discourses about the Absurd Theater, the study of Godot in Beckett' s Waiting for Godot has mostly been focused on interpretations of the possible object and the specific meaning of the word "Godot", and the end of this play that Godot never appears has been limited within the Existentialist interpretive paradigms and thus always symbolizes the emptiness, hopelessness and meaninglessness of life. However, noticeably, "Godot" in this drama is not an ab- stract and void unchanging notion, but a multiple and dynamic signifier gradually built up in the lingual communications between the protagonists. Wittgenstein' s discussions in his later philosophy on language abusing and his lingual analyses of words related to our "spiritual world" like "expectation" can turn our attentions from "Godot" to "waiting", from the signified object to the use of the word. The point of"waiting for Godot" is not about who Godot is, whether he will come at last, or if the salvation can be realized, but about the specific grammatical forms and the way of thinking related to "waiting" in the language game of this play. This reinterpretation casts a new light on the understanding of this action: with an incredible courage and dignity, "waiting" is a positive and effective way for us to adhere to our spiritual beliefs and the meaningful world, with its underlying grammatical form and the "the form of life" as its root.
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