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1.1研究内容
第一章为引言，介绍爱尔兰文艺复兴运动的起源与发展、本论文的课题来源和研究新意、国内外研究爱尔兰戏剧的现状和水平以及本论文的结构；并指出存在于爱尔兰文艺复兴时期戏剧中的三种英雄原型，即弥赛亚英雄、悲剧英雄与戏谑英雄。with the political infiltration of English power, Irishlanguage gradually lost its domination. From the eighteenth century the language went into adecline, rapidly losing ground to English due in part to restrictions dictated by British rule. (DeFréine, 1978: 16) In the mid-nineteenth century it lost a great portion of its speakers to death andemigration resulting from poverty, particularly in thehttps://www.51lunwen.org/IrelandDissertation/ wake of the Great Famine from 1845 to1849. During the late-nighteenth century to 1920s, the national awareness of Irish people was onthe ascendant, and they finally reclaimed the independence of Ireland in 1937. As response to thepolitical independence, patriotic writers started to advocate a revival of Irish culture. Besides theGaelic Revival Movement of which members made efforts to encourage the learning and use ofIrish language in Ireland, a group of literary elite dedicated to create works centering on Irishexperience and tradition.Irish scholar, as well as the first President of Ireland, Douglas Hyde (1860-1949) foundedthe Gaelic League in 1893, aiming to work for the national unity by reviving the ancient Irishlanguage and publishing translations of its myths, legends and folklore. In the same year hepublished Love-songs of Connacht, a work which revealed the distinctive qualities not only ofGaelic poetry but of the Irish English into which he had translated it, and encouraged LadyGregory(1904-1932) and J.M. Synge (1871-1909) to use the English spoken in the west ofIreland as a medium for drama. Douglas Hyde’s effort contributed to the formation of Irishliterature’s uniqueness in terms of language use.
Since then Ireland’s literary circle witness equal https://www.51lunwen.org/IrelandDissertation/publication of works written in Irish and inEnglish as well. Ireland’ s English literature neither belong to the category of England’s literature,nor should be classified as Irish literature which is created mainly in Irish language. Inaccordance with international practice, “Anglo-Irish” is adopted as a term referring to the workswritten in English by Irish writers, so as to distinguish the ones written in Irish or Gaelic. Tospecify, this paper mainly discusses the Anglo-Irish drama during Ireland’s Literary Renaissance.Among other dedicators to the revival of Irish culture were illustrious poet W. B. Yeats(1865-1939), the prime founder of the Irish Dramatic Movement, which was the most eminentachievement of Ireland’s Literary Renaissance. In a wet afternoon in 1897, Yeats and Lady Gregory met by chance at Duras, and had a talk indoor due to the poor weather. Little did theyknow at the beginning that their conversation would later lead to the famous Irish DramaticMovement. A few days later, they wrote a statement, proposing to perform certain Celtic andIrish plays in Dublin in the spring of every year, so to build up a Celtic and Irish school ofdramatic literature:
With the repeated presence of heroic themes and images in various forms of Irish literature,it’s no doubt that a heroic archetype do exists in the collective consciousness. In that particularperiod when Irish people were desperate for a hero who could save them from the chaos, thearchetypes dormant in Irish playwrights’ mind were elicited and incarnated into characters ofdrama. The heroic images appeared to be varying in different periods, as reflect本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。