曹禺悲剧《原野》中的空间场景与情感映射  

Spatial Scenes and Emotional Mapping in Cao Yu’s Tragedy The Wilderness

作　　者：刘鑫 LIU Xin(College of Chinese Language and Literature,Yunnan University,Kunming,Yunnan,650091)

机构地区：[1]云南大学文学院,云南昆明650091

出　　处：《韩山师范学院学报》2024年第5期79-84,共6页Journal of Hanshan Normal University

摘　　要：曹禺的四大名剧之一《原野》是其写于1936年的戏剧,讲述一个以家族为名的极端复仇故事,展现复杂而深刻的人性冲突。曹禺在该剧中借由“原野”“焦家正屋”“黑森林”三个实体空间场景和若干幻象空间场景来展现主人公仇虎在复仇过程中的情感状态,“原野”象征着人物的蛮性欲望,“焦家正屋”代表着仇虎复仇意识的高涨与爆发,而“黑树林”则是人物陷入道德困境的隐喻。这些空间场景成为该剧人物的话语博弈空间,映射着人物的情感状态并促成复仇悲剧意蕴的生成。借助空间场景来观照剧中人物情感状态,可发现空间场景书写在剧作中不可或缺的作用。One of the four famous plays of Cao Yu,The Wilderness,written in 1936,tells a sto-ry of extreme revenge in the name of a family,showing complex and profound human conflicts.In the play,Cao Yu shows Qiu Hu’s emotional state in the process of revenge through the depiction of three physical spatial scenes,namely“The Wilderness”,“The Jiao Family’s House”,and“The Black Forest”,as well as several illusory spatial scenes.“The Wilderness”symbolizes the character’s savage desire.“The Jiao Family’s House”represents the upsurge and outburst of Qiu Hu’s revenge consciousness.“The Black Forest”is a metaphor for the character’s moral dilemma.These spatial scenes become the discursive game space of the characters in the play,reflecting the emotional state of the characters and contributing to the creation of the tragic meaning of revenge.It can be found that the writing of the spatial scenes plays an indispensable role in the play by depicting the emotion-al state of characters in the play.

关 键 词：《原野》 空间场景 情感映射 复仇意识 

分 类 号：I206.7[文学—中国文学]