莎士比亚《李尔王》中的可视与不可视

The Visible and the Invisible in Shakespeare's King Lear

"识人"是莎士比亚《李尔王》的核心主题,认识的获得来源于"目视"。目视的角度划定了可视与不可视的界限,规定了言说活动的禁忌,与禁忌的互动便是可视与不可视的博弈。阐明剧中不同人物处理禁忌的不同方式是解读《李尔王》的关键。本文以福柯的认识型为研究进路,探讨以高纳里尔姐妹和爱德蒙、考狄利娅与肯特、弄人与爱德伽为代表的三组人物分别以何种策略调和可视与不可视的矛盾。本文指出,高纳里尔等人以谎言遵守了父辈的禁忌,考狄利娅与肯特以直言僭越了禁忌,李尔与葛罗斯特在弄人与爱德伽的引导下以"失智"和"失明"消解了禁忌,旨在说明对禁忌的遵从、僭越、消解是一个不可视转化为可视的过程,李尔与葛罗斯特也在这一过程中逐渐转换目视的角度,深化对他人、对自己的认识。

Recognition of self and others,as a core issue epitomized in Shakespeare's King Lear,derives its acquisition from insight.Distinctive perspectives of insight draws a distinction between the visible and the invisible and establishes taboos for speech,and interactions with taboos are considered combats between the visible and the invisible.An explication of different attitudes adopted by differentiated characters towards taboos is key to the interpretation of King Lear.This thesis,by means of Foucauldian theory of episteme,probes into strategies applied by three groups of characters to the coordination of the visible with the invisible.Illuminating Goneril and Edmund's conformity through mendacity with,Cordelia and Kent's transgression through directness and honesty against,as well as Fool and Edgar's effacement through madness and blindness of taboos of the fathers,this thesis justifies the idea that the conformity to,the transgression against and the effacement of taboos collaborate to constitute a process over which the invisible is transformed into the visible,and that it is in this process that Lear and Gloucester,altering their perspectives,deepens their knowledge on others as well as on themselves.