霍夫曼斯塔尔哑剧《学徒》中的理性批判、舞蹈与仪式性  

Critique on Rationalism,Dance and Rituality in Hugo von Hofmannsthal's Pantomime Der Schüler

作　　者：刘永强 LIU Yongqiang

机构地区：[1]浙江大学外国语言文化与国际交流学院,浙江杭州310058

出　　处：《外国语文》2018年第5期51-56,共6页Foreign Languages and Literature

基　　金：国家社会科学基金青年项目"霍夫曼斯塔尔作品中的视觉感知与身体表达研究"(17CWW014)的阶段性成果;国家留学基金委高研访学项目(201706325010)成果

摘　　要：奥地利现代主义作家胡戈·冯·霍夫曼斯塔尔的哑剧《学徒》生动刻画了一种理性主导的、文字编码的感知方式,并借此对西方近现代的书写文化进行批判。剧中展现了错误的符号解读所招致的厄运宿命,抒发了对盲目理性主义的深刻批判。这部哑剧标志着霍夫曼斯塔尔在诗学层面向身体和舞蹈语言的转向,体现了他在开创新的认知模式、摸索新的表达方式等方面所做出的努力。作者在哑剧的构思中结合了有关舞蹈动作和仪式行为的思考,预示了他后来关于"纯净姿势"的美学构想。Hugo van Hofmannsthal, the famous Austrian modernist writer and dramatist, exquisitely depicts in his pantomime Der Schuler a rational-oriented, text-encoded way of perception, and in doing so he put the Western modem writing culture as the object under his keen critique. This piece of pantomime illustrates the catastrophe and misfortune brought up by the misleading interpretation of textual signs and expresses a profound critique to the sightless rationalism. It marks Hofmannsthal＇ s shift in the sense of poetic, which reoriented itself to the significance and connotation of physical language especially dancing performance. Never the less, the piece also offers an insight to his efforts in discovering new cognitive models and exploring new forms of expression. Hofmannsthal＇ s reflection on dancing gesture and ritual behavior is fused into his conception of this work, which indicates the later emergence of his central aesthetic conception of ＂pure gesture＂.

关 键 词：胡戈·冯·霍夫曼斯塔尔 哑剧 理性批判 舞蹈 仪式性 

分 类 号：I521.074[文学—其他各国文学]