从怪异美学视角论《培尔·金特》剧中的身份危机

The Crisis of Identity in Peer Gynt: Illuminated in Terms of the Aesthetics of the Grotesque

在对易卜生的研究中 ,人们历来认为《培尔·金特》一剧具有积极意义的准则在于探索保持自己本来面目这个概念。然而 ,本文从怪异美学的理论视角考察该剧发现 ,体现在《培尔·金特》剧中的怪异文本的异元性使读者对自我的理解远离形而上学的一元模式 ,不是非此即彼的选择 ,而是表现在保持自己本来面目和“我为自己就够了”两者之间的辩证关系中。从怪异美学的视角阐释《培尔·金特》。

In Ibsen research, it has been pretty much the usual thing to claim that the positive norm in the work is linked to the concept of being oneself. However, when the play is analyzed from the viewpoints of the aesthetics of the grotesque, it is found that the incongruence of the grotesque characteristic in the play provides the readers with an alternative model of self-development reflected in the dialectics of being oneself and 'being to oneself-enough', deviating from all the metaphysical imperatives about a unitary and closed ego. The elaboration of Peer Gynt from the perspective of the aesthetics of the grotesque will promote the readers' understanding of Ibsen's subject dialectical view about the subject.