从《咱们死人醒来时》看亨利克·易卜生对倒置性超越的阐释(英文)

Inverted Transcendence in Henrik Ibsen’s When We Dead Awaken

在易卜生的晚期戏剧中,我们发现那些主要人物犹如活死人。在易卜生的最后一部剧作《咱们死人醒来时中,雕塑家鲁贝克和他的模特爱吕尼在没有肉体接触、克制性满意度的基础上,建立了一种两性关系。本文旨在表明以人生为代价而使艺术成为纯洁和完美行为的表现方式所带来的后果:缺乏生命的活力,不积极参与真实的人生,会逐渐使主人公的存在成为人尽皆知的来世生活的表征。因此,本文作者把此剧解读为视觉印象,这种印象来自彼岸,来自死亡国度和倒置性超越的视角。

In Ibsen＇ s late dramas one find main figures who suggest that they are living dead. In When We Dead Awaken, Ibsen＇ s last play, the sculptor Rubek and his model Irene establish a mutual relationship based on absence from physical contact and renunciation of sexual satisfaction. The article aims at showing the consequences of a life dedicated to art as an expression of purity and immaculate conduct. The lack of vitality and participation in real life gradually turn the main figure＇s existence into manifestations well known from depictions of the hereafter. Consequently I read the play as visualized impressions from the other side, from the land of the dead and the perspective of an inverted transcendence.