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狂欢化与莎士比亚的《皆大欢喜》——关于丑角试金石的个案思考 [2]

论文作者:留学生论文论文属性:硕士毕业论文 dissertation登出时间:2024-03-29编辑:vicky点击率:174

论文字数:35255论文编号:org202403271020002353语种:英语 English地区:中国价格:$ 44

关键词:英语语言学论文范文硕士论文格式

摘要:本文是一篇英语语言学论文,本文将做出一种新的尝试。通过运用巴赫金的狂欢化理论,从丑角所具备的三个狂欢化特征,即语言的对话性特征,怪诞的躯体形象和脱冕与加冕的双重性出发,对试金石进行讨论,以期证明试金石对《皆大欢喜》中狂欢化主题的重要影响以及丑角试金石反抗旧秩序的狂欢化形象。

e in the theater,and they live inevery corner of real life,not only to amuse the royal aristocracy,but also to amusecommon people.Clowns can be seen in pantomime performances,costume dances,open-air costume parades,magic juggling and wedding celebrations.To understand thecarnivalized features and topographical traces of Shakespearean clowns,it is wise tostart with the stage where Shakespeare’s plays are performed.

In the 16th century,London was a city full of vitality,and drama was also a new art,which aroused the pursuit of citizens from all walks of life except for some overlydevout Puritans,who thought theater discouraged people from serving God.

In 1572 plays were interdicted on the ground of the plague and the risk of spreading thecontagion;but it appears that the pretext was eagerly seized upon by the authorities.In1575 the mayor and corporation formally expelled all players from the city,and this act was probably the immediate cause for building of the first playhouse,the site chosenbeing one of the liberties beyond the city boundary.(Ordish 30)

In Southwark,opposite St Paul’s Cathedral on the south bank of the Thames,therewere several permanent theatres where Londoners,who loved to watch the plays,wouldcross the Thames in boats and watch the plays.Because the Thames was a naturalbarrier separating the city from the crowded theatres,it had a protective effect onpreventing the plague from entering the city or spreading on a large scale.The Englishtheatre of the Renaissance and the Elizabethan theatre borrowed its shape from themedieval castle building,which was circular or octagonal,with a cylindrical shapewhen viewed from the outside.The interior adopted the design of an ancient Romanamphitheater,with a circular pit layout,with a fixed and unchanging stage,on whichthere were elaborately constructed simulation buildings and rows of stands around,sothat the audience can see the play from three sides.

B.Topographic Words of Touchstone and Shakespearean Clowns

Before comprehending the implications of topographic clowns,it is necessary tohave a clear understanding of the generation of clowns as understood by Bakhtin.Theclown discussed by Bakhtin originated from the carnival culture Carnevale,also knownas Maslenitsa,is an important European folk festival,which can be traced back toancient Greece after the Dionysian festival carnival activities.During the carnivalfestival,people stop working,go to the streets and squares and hold a variety ofentertainment activities.At this time,people of all classes break previous hierarchicalboundaries,ignore all official restrictions and religious taboos,disguise parades,join in funny performances,eat,drink and play.On this basis,various grotesque styles andforms of comedy,humor,exaggeration and satire are formed,which is called by Bakhtin“the upside and down world”.In this world,the clown is the hero,all of people’s wordsand deeds are clownish.Through disguises(wearing clown masks),games,socializing,speaking vulgar words(curse words,obscene jokes)and other activities,everyoneco-performs a cosmic carnival comedy.Each one enjoys his own ugliness and obscenity,takes great pleasure in being polite and sanctimonious in a way that is different fromeveryday life,and fully enjoys the freedom of individual revelry against repression.Inthis way,the world of carnival(also called“the second world”and“the second life”)isformed,which is differe论文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。

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