检索规则说明:AND代表“并且”;OR代表“或者”;NOT代表“不包含”;(注意必须大写,运算符两边需空一格)
检 索 范 例 :范例一: (K=图书馆学 OR K=情报学) AND A=范并思 范例二:J=计算机应用与软件 AND (U=C++ OR U=Basic) NOT M=Visual
作 者:张强 Zhang Qiang(College of Foreign Languages,Nankai University,Tianjin,China)
出 处:《外国文学》2022年第4期38-49,共12页Foreign Literature
基 金:国家社科基金青年项目“西南联大诗人群翻译活动与中国新诗翻译理论建构研究”(18CWW004)。
摘 要:英国诗人奥登在20世纪40年代初期移居美国,并完成了诗剧《海与镜》,续写了莎士比亚的经典剧作《暴风雨》,以此来阐释自己的“祛魅论”。本文通过跨文本阅读的视角分析奥登对莎剧中人物形象的重塑,指出这一时期奥登诗学观的主要特点,即对权力等级的建构、文学的功用,以及读者与作者关系等进行一系列的祛魅。本文从上述三个方面分析奥登“祛魅论”的要义,并指出:在权力等级的建构方面,对《暴风雨》中人物矛盾的和解方式提出质疑,并以剧中对“魔法”的祛魅解构权力体系所建构出的等级制;在文学之功用方面,以“海”与“镜”为隐喻,驳斥说教性的诗学观;在读者与作者关系上,以凯列班为自己代言,寻求诗歌阅读的个体性与戏剧欣赏的群体性之间的平衡。The English poet W.H.Auden emigrated to the United States in the early 1940s,and finished his poetic drama The Sea and the Mirror as a sequel to William Shakespeare’s The Tempest to interpret his poetic idea of disenchantment.This essay analyzes Auden’s reconstruction of Shakespearean characters in The Sea and the Mirror through cross-textual reading,in order to elaborate Auden’s main idea of disenchantment from the aspects of the construction of power,the function of literature,and the relationship between the reader and the writer.This essay argues that Auden questioned the reconciliation of characters’conflicts in The Tempest,and deconstructed the hierarchy built by the power system using the disenchantment of“magic”in the play;he used the“sea”and the“mirror”as metaphors to refute the didactic poetics;he made Caliban his spokesman,in search of the balance between the individuality of poetry reading and the collectivity of drama appreciation.
正在载入数据...
正在载入数据...
正在载入数据...
正在载入数据...
正在载入数据...
正在载入数据...
正在载入数据...
正在链接到云南高校图书馆文献保障联盟下载...
云南高校图书馆联盟文献共享服务平台 版权所有©
您的IP:216.73.216.13