戏剧《哥本哈根》中的解构主义  

Deconstruction in Copenhagen

作　　者：陈戎女[1] 郑芳菲 Chen Rongnv;Zheng Fangfei

机构地区：[1]北京语言大学

出　　处：《上海文化》2023年第4期107-117,共11页Shanghai Culture

基　　金：国家社科基金重大项目“中外戏剧经典的跨文化阐释与传播”(项目号:20&ZD283)的阶段性研究成果;北京语言大学梧桐创新平台(中央高校基本科研业务费专项资金)项目(项目号:19PT06);北京语言大学研究生创新基金项目(项目号:22YCX070)资助。

摘　　要：英国剧作家迈克尔·弗雷恩1998年创作的戏剧《哥本哈根》围绕科学史中的著名事件——1941年海森伯与玻尔会晤的“哥本哈根之谜”,以“哥本哈根解释”的不确定性原理与互补性原理为基,探寻宇宙和人类社会的本质。剧中三个鬼魂的叙述立场与对话视角的转换立体地展现了“海森伯之行”包含的敌对力量和人物间的复杂心理,鬼魂既是当下真实存在的叙述者,又是1941年“海森伯之行”的当事人和幽灵性在场。弗雷恩依托幽灵这一间性存在,实现了物理与戏剧、科学与人文的互文。同时,鬼魂叙事对传统戏剧的反叛及鬼魂与实在的切出、切入,传达了弗雷恩解构主义的哲学思考。Copenhagen,a play created by British playwright Michael Frayne in 1998,explores the nature of the universe and human society based on the two pllars of Copenhagen interpretation:uncertainty principle and complementarity principle,focusing on"The Mystery of Copenhagen",a famous event in the history of science.The different narrative positions and dialogue perspectives of the three ghosts show the hostile forces involved in"Heisenberg's Journey"and characters'complex psychology.The ghosts are not only the narrators of the present,but also the participants and the spiritual presence of Heisenberg's Journey"in 1941.Relying on the existence of ghosts,Frayne achieves the intertextuality of physics and drama,science and humanity.At the same time,the revolt against the traditional drama and the shifting of ghosts and reality,convey Frayne's philosophical thinking of deconstruction.

关 键 词：《哥本哈根》 哥本哈根之谜 解构 幽灵 

分 类 号：I561.073[文学—其他各国文学]