祛魅的莎士比亚与《赢了》的双重主题  

The Secularized Shakespeare and the Double Theme in Bingo

作　　者：夏延华[1,2] 

机构地区：[1]西华师范大学外国语学院,四川南充637009 [2]北京科技大学外国语学院,北京100083

出　　处：《外国文学》2014年第5期96-102,159,共7页Foreign Literature

摘　　要：《赢了:金钱与死亡之戏》是当代英国剧作家爱德华·邦德的代表性历史剧之一。通过把莎士比亚置于17世纪英国圈地运动的历史背景,该剧再现出一代文豪从历史大舞台退居历史边缘后的晦暗生命气息与灵魂挣扎。他以服毒自杀走向无何有之乡的悲剧命运改写了被神化的莎氏符号。这部当代经典以新历史主义的叙事意理完成对莎士比亚的祛魅,不仅像莎学家格林布拉特的《俗世威尔——莎士比亚新传》一样拓展了今人认知莎士比亚的视域,还蕴含了戏剧向外批判现实的同时,更应向内叩问灵魂、还原人性真实的邦德式戏剧观,具有双重主题。Bingo:Scenes of Money and Deathis one of Edward Bond's representative historical plays.On the basis of returning William Shakespeare to the British enclosure movement in the 17 th century,this new historical play depicts a spiritually tortured Shakespeare who had retired from public life.The deified Shakespeare is secularized and ended in suicide,which is in accord with Stephen Greenblatt's Will in the World:How Shakespeare Became Shakespeare.This double-themed modern masterpiece has not only extended the vision of Shakespearean study but also reflected Bond's view that drama should question the soul besides criticizing reality.

关 键 词：莎士比亚 《赢了》 爱德华·邦德 新历史主义 邦德式 

分 类 号：I561[文学—其他各国文学]