笑谑的力量:论《月球皇帝》中的狂欢化世界感受  

The Power of Laughter:On the Carnival World Experience in The Emperor of the Moon

作　　者：郑伟 蔡起田 ZHENG Wei;CAI Qi-tian(School of Humanities,Huzhou College,Huzhou 313000,Zhejiang,China)

机构地区：[1]湖州学院人文学院,浙江湖州313000

出　　处：《红河学院学报》2024年第3期75-80,共6页Journal of Honghe University

摘　　要：《月球皇帝》在阿芙拉·贝恩的所有剧作中的受欢迎程度仅次于《漫游者》。一些学者认为该剧不过是迎合观众低俗趣味的平庸之作。《月球皇帝》兼具景观戏剧和闹剧的特征。混合的体裁特征让研究者困惑不已。我们从巴赫金的狂欢化世界感受视角理解《月球皇帝》文本内蕴的严肃思想不失为有效的途径。贝恩在《月球皇帝》中以解构景观戏剧和梅尼普体集中展现了狂欢化世界感受,这是她之前的作品中没有出现的现象。对比约翰·德莱顿机械的、非辩证的形而上学缺陷,贝恩在《月球皇帝》中的狂欢化感受使之真正克服了独断的权力的束缚。The Emperor of the Moon is second only to The Wanderer in popularity among all of Aphra Behn’s plays.Some scholars believe that the play is just a mediocre work catering to the audience’s vulgar tastes.The Moon Emperor combines the characteristics of landscape drama and farce.The mixed genre characteristics have puzzled researchers.We can effectively understand the serious thoughts contained in the text of The Moon Emperor from the perspective of Bakhtin’s carnival world perception.Behn presented a carnival world experience in deconstructive landscape drama and Menippean style in the work,which was not seen in her previous works.Compared to John Dryden’s mechanical and non dialectical metaphysical flaws,Behn’s carnival feeling truly overcomes the constraints of authoritarian power.

关 键 词：《月球皇帝》 景观戏剧 闹剧 梅尼普体 狂欢化世界感受 

分 类 号：I106.3[文学—世界文学]