当代俄罗斯剧作《百人长之女》中的果戈理传统  

The Gogol's Tradition in the Contemporary Russian Play Pannochka

作　　者：李瑞莲[1] 

机构地区：[1]大连外国语大学俄语系

出　　处：《俄罗斯文艺》2015年第1期114-118,共5页Russian Literature & Arts

基　　金：国家社科基金后期资助项目"当代俄罗斯戏剧作品研究"(项目编号:12FWW005);大连外国语学院科研基金青年项目"当代俄罗斯剧作家尼.萨杜尔的荒诞艺术空间"阶段性研究成果

摘　　要：俄国文学巨匠果戈理把文学创作的美学原则与宗教探索相结合,开辟了一条艺术风格独特的创作之路。当代俄罗斯戏剧作品无论是在创作题材上,还是在写作手法上都深受果戈理文学传统的影响,这在尼·萨杜尔的戏剧创作中体现得尤为显著。萨杜尔的剧作《百人长之女》继承了果戈理小说《维》的戏剧性传统,借用了其主题、情节主线和神秘主义的宗教象征。剧作家在继承果戈理文学传统与宗教道德观念的同时,将其置于新的社会现实中重新评价,并使其获得了鲜明的时代特征。The Russian literary giant Gogol combines the aesthetic principles of literary creation with the religion exploration, opening up a road of creation with a unique artistic style. The contemporary Russian plays are deeply affected by the literary tradition of Gogol both in themes and in writing styles, which is significantly reflected in Sadur＇ plays. Sadur＇ s play Pannoehka inherits the dramatic tradition in Gogol＇ s novel Viy, and borrowed its theme, main line of plot and mysterious religious symbols. Carrying on Gogol＇ s literary tradition and religious moral values, the playwright re-evaluates them in the background of new social reality, and gives them a distinctive characteristic of the times.

关 键 词：果戈里传统 尼·萨杜尔 戏剧性 情节结构 宗教意象 

分 类 号：I512.073[文学—其他各国文学]