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试论品特式戏剧语言 被引量:6

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摘要 品特戏剧的奇异之处很大程度上在于他对语言的独特理解。在他看来,现实中最真实的语言其实是谎言与真言的混杂。由此,品特发展出自己独特的“记忆”话语模式,人物的对白大量地以“记忆”的形式出现,虚构性和真实性之间的界限变得模糊而朦胧。本文以他的小说《侏儒》和后期代表剧作《月光》为例,探讨品特式话语的内涵。
作者 陈红薇
出处 《外国文学评论》 CSSCI 北大核心 2007年第2期71-78,共8页 Foreign Literature Review
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  • 1Michael Billington, The Life and Work of Harold Pinter, London: Faber and Faber, 1996, p. 371, p. 345, p. 346
  • 2Harold Pinter, "Writing for the Theatre," Pinter Plays : Two, London: Methuen, 1977, p. 11, p. 9.
  • 3M. Gussow, Conversation with Pinter, New York: Limelight Edition, 1994, p. 37, p. 130, p. 130.
  • 4Harold Pinter, The Dwarf, London: Faber and Faber, 1990, p. 101, pp. 151 -152, p. 75, p. 134.
  • 5Harold Pinter, in Files on Pinter, Malcolm Page ed. , London: Methuen Drama, 1993, p. 101, p. 101.
  • 6Harold Pinter, Various Voices Prose, Poetry, Politics, 1948-1998, London: Faber and Faber, 1998, p. 19, pp. 19 -20.
  • 7Peter Raby ed., The Cambridge Companion to Harold Pinter, Cambridge: Cambridge University Press, 2001, p. 52.
  • 8Peter Hall, "Directing Pinter," Interviewed by Catherine Itzin & Simon Trussler, Theatre Quarterly. 4 : 16 ( Nov 1974 - Jan 1975 ), p. 9.
  • 9Harold Pinter, Moonlight, in Harold Pinter: Plays Four. London: Faber and Faber, 1993, p. 319, p. 349, p. 356, p. 326, p. 326, p. 353, p. 355, pp. 362 - 3, p. 363, p. 370, pp. 367, p. 382, p358, p337.
  • 10John Peter, "Moonlight", Sunday Times, 14. 11.93, in Theatre Record, (22Oct -4Nov 1993) , p. 982.

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