萧伯纳“政治狂想剧”的拉康主体理论解读  

Research on Lacan’s Theory of Subject Presented in Bernard Shaw’s Political Extravaganza

作　　者：杜鹃[1] 石晶晶 DU Juan;SHI Jingjing(School of Liberal Arts,Nantong University,Nantong,Jiangsu 226019)

机构地区：[1]南通大学文学院

出　　处：《绵阳师范学院学报》2019年第7期95-99,共5页Journal of Mianyang Teachers＇ College

基　　金：教育部人文社科规划基金项目“‘萧伯纳式’戏剧艺术对中国当代戏剧发展的启示”(14YJAZH015)

摘　　要：“政治狂想剧”《苹果车》《真相毕露》《日内瓦》是萧伯纳戏剧生涯巅峰时期的主要作品。萧伯纳以一种全新的戏剧样式深刻反映了经济大萧条和法西斯主义恶性发展时期西方世界危机四伏的社会现实和被扭曲的人生观念。深入阅读萧伯纳的“政治狂想剧”,可以发现拉康主体理论的影子。戏剧人物“想象”“欲望”“无意识”与拉康理论的契合,再次印证了萧伯纳戏剧的多义性。A series of political extravaganza such as The Apple Car,Too True to be Good and Geneva were the main works of Bernard shaw at the peak of his theatrical career. Shaw profoundly reflects the dangerous social reality and distorted life concept in the western world during the great depression and the vicious development of fascism with a brand new dramatic style. According to deep analyzing on Bernard Shaw's political extravaganza,it could found the trace of Lacan's theory of subject. The "imagination","desire" and "unconsciousness" about the characters in such drama were conforming to Lacan's theory. It conforms the equivocality of Bernard Shaw's drama.

关 键 词：萧伯纳 “政治狂想剧” 拉康主体理论 

分 类 号：I106.3[文学—世界文学]