摘要
《高加索灰阑记》中的"阿兹达克智断总督夫人与格鲁雪争子疑案",与圣经所载"所罗门智断二妓女争子疑案"貌合神通。圣经中的所罗门不时融入布莱希特剧作,为之注入多种圣经元素。马克思的"亚细亚生产方式"概念有助于认识所罗门政体的专制性质以及《高加索灰阑记》的某些特征。格鲁雪和西蒙对应于福音书中的马利亚和约瑟;布莱希特借其质疑血亲伦理而伸张超血亲伦理,表达了对耶稣观念的认同。如同所罗门,阿兹达克也利用一个"空位过渡期"成就了"短暂的黄金时代"。剧本的显见主题掩饰了布莱希特的深层次政治倾向。
＂Azdak＇s wise trail on a disputed case about the governor＇s widow fighting with Grusha for a boy＂ in The Caucasian Chalk Circle is much alike to ＂Solomon＇ s wise trail on a disputed case about two women seizing a boy＂ in the Bible. Solomon in the Bible merges into Brecht＇s theatres from time to time, pouring many kinds of biblical elements into them. The idea ＂Asian Mode of Production＂ by Marx is conducive for understanding the autocratic quality of Solomon＇s system and some characteristics of The Caucasian Chalk Circle. Grusha and Simon are corresponding to Mary and Joseph in the Gospels. By means of them Brecht questions blood ethics and upholds extra-blood ethics, and expresses his identification with Jesus＇ ideology. Being similar to Solomon, Azdak also made use of an ＂interregnum＂ to accomplish a ＂brief golden age＂. The theatre＇s obvious theme covers up the deep-seated political inclinations of Brecht.
出处
《河南大学学报（社会科学版）》
CSSCI
北大核心
2014年第3期13-21,共9页
Journal of Henan University(Social Sciences）
基金
国家社会科学基金项目"国外马克思主义圣经批评研究"(13BZJ022)阶段性成果
