摘要
战后,精神的荒原渗透到欧美社会的每一个角落,改变了作为社会最基本组成单位——家庭的自然属性。哈罗德·品特的《回家》一剧表现了父权制家庭中重塑了的家庭角色关系,呈现出"愿望的达成"(wish-fulfillment)与权力中心瓦解之间的冲突。丰饶女神黛安娜的隐喻贯穿全剧,伴随着露丝的到来,最终完成了家庭秩序的重建和精神荒原中新质的萌生。
Pervasive in European and American societies in the post-war period,spiritual wasteland changed the properties of family as the basic component of society.The Homecoming presents to the reader the reshaped roles of family members in a patriarchal family,the conflict between ＂wish-fulfillment＂ and disintegration of the power center. The metaphor of Diana as goddess of fertility runs through the play,and with the arrival of Ruth the family reconstruction is accomplished and the spiritual rebirth is realized.
出处
《解放军外国语学院学报》
CSSCI
北大核心
2009年第6期92-95,共4页
Journal of PLA University of Foreign Languages
基金
辽宁省教育厅人文社会科学重点研究基地项目(20060192)
关键词
哈罗德·品特
回家
精神荒原
丰饶女神
新质萌生
Harold Pinter
The Homecoming
spiritual wasteland
goddess of fertility
spiritual rebirth
