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“人类是多么美丽!”——《暴风雨》的主题思想与象征意义 被引量:16

"How beauteous mankind is!": The Theme and Symbolic Meaning of The Tempest
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摘要 《暴风雨》是莎士比亚晚期剧作中引人关注的名著,通常被莎评家誉为戏剧诗人的传奇剧的代表作。本文从生态美学视角并结合伦理学批评理论,论证此剧的主题和象征意义。《暴风雨》通过普洛斯彼罗其人其事所展示的"主旋律",突出了莎士比亚的人文主义期待:通过优化人性、提升道德的教育,祛除假丑恶,普及真善美,构建人人幸福的"理想之国"。剧中许多象征性的画面所显示的天地万象共存共荣,以及人与人、人与自然和睦共处的理想,不仅有其历史认知价值,而且颇富超越时空的审美意义。细读精思《暴风雨》,追溯戏剧诗人文艺创作的"心路历程",鉴赏其寓意深刻的象征意义:这是人类走向全面和谐的"深绿色之路"。这种绿色是富有永恒生命力的"未来色",莎士比亚文艺创作的魅力因此而日新月异,青春长在。 The Tempest, created by William Shakespeare in his late years, is widely regarded as a representative of his romantic tragicomdies. This essay makes an exploration of the theme and symbolic meaning of this play from the perspective of ecological aesthetics in combination with ethical literary criticism. The theme displayed through the description of Prospero foregrounds Shakespeare's humanistic expectation - to construct an ideal republic, where all people enjoy happiness, by enhancing human nature and morality, and by dispelling falsehood, evil and ugliness while disseminating truth, goodness and beauty. The play is rich in symbolic scenes showing a harmonious coexistence of human and nature and of human beings themselves. This provides not only a value of historical cognition but also an aesthetic value transcending time and space. A close reading of this play while tracing the playwright's spiritual adventures and seeking the symbolic value of this play leads to a new understanding that this play demonstrates a "dark green road" leading to a universal harmony of the human world. The "green" is a "future color" indicating the eternal vitality of life and the eternal charm of Shakespeare's works.
作者 王忠祥
出处 《外国文学研究》 CSSCI 北大核心 2008年第4期23-29,共7页 Foreign Literature Studies
关键词 莎士比亚 《暴风雨》 主题思想 象征意义 生态美学 伦理学批评 William Shakespeare The Tempest theme symbolic meaning ecological aesthetics ethical criticism
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参考文献11

  • 1Kaufmann, Walter. From Shakespeare to Existentialism: An Original Study. New Jersey: Princeton UP, 1995.
  • 2莎士比亚.《暴风雨》.朱生豪译.《莎士比亚全集》卷一.北京:人民文学出版社,1984年.3-86.
  • 3杨周翰编选.“莎士比亚如是说”[J].莎士比亚研究(中国莎士比亚研究会编),(1983):58-66.
  • 4王忠祥.“建构崇高的道德伦理乌托邦——莎士比亚戏剧的审美意义”.《文学伦理学批评:文学研究方法新探讨》,聂珍钊邹建军编.武汉:华中师范大学出版社,2006年.487-507.
  • 5张泗洋.《莎士比亚引论》(下册).北京:中国戏剧出版社,1988年.
  • 6朱生豪等多人译本.《莎士比亚全集》.北京:人民文学出版社,1986年.
  • 7David Bevington编.《莎士比亚全集》.1992年.
  • 8宋代词人苏轼."水调歌头".载《宋词三百首笺注》,唐圭璋编.北京:中华书局,1962年.
  • 9邵旭东,王忠祥."《暴风雨》的主题及其它".《莎士比亚新论》.武汉:武汉大学出版社,1994年.176.
  • 10王忠祥."莎士比亚戏剧人物的审美意义"[J].美学与时代,1990,1:31-31.

二级参考文献17

  • 1Paul Brown, " 'This Thing of Darkness I Acknowledge Mine'. The Tempest and the Discourse of Colonialism," Political Shakespeare : New Essays in Cultural Materialism, ed. Jonathan Dollimore and Allan Sinfield (Ithaca: Comell LIP, 1985) 48-71.
  • 2Paul A. Cefalu, "Rethinking the Discourse of Colonialism in Economic Terms: Shakespeare's The Tempest and Captain John Smith's Virginia Narratives, and the English Response to Vagrancy," Shakespeare Studies 28(2000): 85 - 119.
  • 3Rebecca Ann Bach, "Mrs. Caliban: A Feminist Postmodern Tempest?" Critique 41.4 (2000): 391 -402.
  • 4Stephen Orgel, Authentic Shakespeare (New York and London: Routledge, 2002) 173- 86.
  • 5Jan Kot, "Prospero's Staff," The Tempest: A Case Book, ed. D. J. Palmer (London and Basingstoke:Macmillan, 1968) 245 - 58.
  • 6Jerry Brotton, " 'This Tunis, sir, was Carthage' Contesting Colonialism in The Tempest," Post-Colonial Shakespeares, ed. Ania Loomba and Martin Orkin (London and New York: Routeledge, 1998) 23 - 37.
  • 7See Homi K. Bhabha, "Signs Taken for Wonders," The Post Colonial Studies Reader, ed. Bill Ashcroft,Gareth Griffiths and Helen Tiffin (London and New York. Routledge, 2001 ) 29- 35.
  • 8See Abdul R. JanMohamed, "The Economy of Manichean Allegory," The Post Colonial Studies Reader, ed.Bill Asheroft, Gareth Griffiths and Helen Tiffin (London and New York. Routledge, 2001 ) 18 - 23.
  • 9Postcolonial Criticism, ed. Bart Moore-Gilbert, Gareth Stanton and Willy Maley (New York: Longman, 1997) 148.
  • 10Shakespeare Studies 22(1994) : 15 - 44.

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