否定辩证法视角下《终局》的再认识  

Reconsideration of Endgame from the Perspective of Negative Dialectics

作　　者：杨林[1,2] 潘卉 Yang Lin;Pan Hui(the School of Foreign Languages,Northeastern University,Shenyang 110000,China;the School of English,Beijing Foreign Studies University,Beijing 100000,China)

机构地区：[1]东北大学外国语学院 [2]北京外国语大学英语学院

出　　处：《外国语文研究》2022年第5期20-28,共9页Foreign Language and Literature Research

基　　金：辽宁省社科基金重点项目“卢卡奇现实主义理论的文献梳理与当代阐释研究(项目编号:L20AZW002)”。

摘　　要：贝克特在其剧作《终局》(1957)中采用的黑色幽默的创作手法曾一度成为学界研究的焦点,其荒诞不经的人物对白,混乱颠倒的叙事逻辑让这部剧作被贴上了无意义的标签,使之成为荒诞派的代表作品。然而,对黑色幽默这一形式过分的关注遮蔽了作品深层次的内容。为了深入挖掘作品创作背后的逻辑,本文以否定辩证法为切入点,分析贝克特在其作品中是如何通过拒斥人类主体地位,瓦解线性进步时间,重构传统二元构架,最终以“自律艺术”之姿在否定中建构起新的意义。Black Humor as a technique in Beckett’s Endgame in 1957 has gained critical attention in the academic world.Due to the ridiculous dialogues between different characters and confused narrative logic,Endgame as exemplified as the supreme representative of absurdity,is labeled as a work of meaninglessness.However,the excessive attention to formalist technique,black humor,has obscured Beckett’s deep thought intended for the work.In order to delve into the artistic logic behind the author’s creative intention,this paper tries to analyze how Beckett rejects human subjectivity,deconstructs the linear progress of time,reconstructs the traditional dualistic framework in Endgame from the perspective of negative dialectics,and further explains how a new meaning arises in negation by means of Beckett’s autonomous art.

关 键 词：《终局》 贝克特 阿多诺 否定辩证法 

分 类 号：I562.073[文学—其他各国文学]