“无意义”在尤奈斯库戏剧中的批判意义  

Nonsense and Its Critical Value in Ionesco’s Theatre

作　　者：李佳颖[1] Li Jiaying(French Department,College of Foreign Languages and Literatures,Fudan University,Shanghai,China)

机构地区：[1]复旦大学外文学院法文系,上海200433

出　　处：《外国文学》2022年第5期48-58,共11页Foreign Literature

摘　　要：“无意义”语言以自由而非理性的孩童视角为起点,通过对既定意义的逃离和否定,揭示和批判基于理性的人类现实。作为反叛力量的“无意义”在法国“荒诞派”剧作家欧仁·尤奈斯库20世纪50年代的反现实主义戏剧中尤为突出。作家在对白中通过模仿和颠覆教条、口号、常识、套话等不同形式的陈词滥调,一方面放大了它们的机械与滑稽,嘲讽了其背后的权威和盲从;另一方面构建了以词语间内在联系取代语意逻辑的“反语言”,发展了“无意义”在中世纪口语文学中的传统形式。在喜剧性的外表之下,“无意义”实则是作者呈现“语言的悲剧”的途径,也是他挽救语言、解放思想的尝试。Starting from a free and irrational child’s perspective, “nonsense” reveals and criticizes human reality based on reason by escaping and denying the established meaning. Nonsense as a contesting force is particularly prominent in the 1950s anti-realist plays of the French writer Eugène Ionesco. By parodying and subverting different forms of clichés such as dogmas, slogans and common sense, Ionesco caricatures their mechanics and burlesque, mocking the authority and blind obedience behind them;on the other hand, he creates an “anti-language” that replaces semantic logic with internal connections between words, developing the traditional form of nonsense in medieval oral literature.Under the comic appearance, nonsense is actually the author’s way to present the “tragedy of language,” as well as his attempt to save the language and liberate the mind.

关 键 词：无意义 尤奈斯库 荒诞派戏剧 语言的悲剧 

分 类 号：I565[文学—其他各国文学]