摘要
“疯癫”是福柯笔下独特的文化向度,它冲破病理学限制,张扬着个体生命的时代精神。作为莎士比亚四大悲剧之一的《李尔王》,彰显了这种“疯癫美学”,从而使“疯颧”成为文艺复兴时期文学与戏剧作品的一种重要呈现方式,是理性和真理的“曲折表达”。《李尔王》中的三种疯癫意象虽然代表不同的阶级,却蕴含着深刻内涵,共同构成了一幅“疯癫”全景图。作为一位人文主义剧作家,莎士比亚并没有否定这种文学表征,而是将其视为把握“真理”的一个环节。
The“madness”has long formed a unique cultural dimension in Foucault’s writings,which highlights the breakthrough of the pathological limitations,and promotes the spirit of the times of individual life.Shakespeare’s King Lear shows well the nature of“madness aesthetics”,thus making“madness”an important literary representation in the Renaissance.What’s more,as a literary representation,“madness”is a“circular expression”of rationality and truth.Although the three madness images in King Lear represent different classes,the profound connotations constitute a panorama of“madness”.As a humanist playwright,Shakespeare does not deny this literary representation,but regards it as a significant process to reach the“truth”.
