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《郑和的后代》中的“自我”与“他者”研究

发布时间:2018-04-17 00:39  文章来源:笔耕文化传播

  本文选题:自我 + 他者 ; 参考:《广西大学》2015年硕士论文


【摘要】:新加坡最著名的剧作家之一郭宝]是一位有着华裔背景和海外留学经历的英汉双语剧作家。他的生活经历暗示了其自身的文化混杂性,同时这篇论文所研究的他的戏剧作品也具有较为明显的文化混杂性的特点。这篇论文研究的戏剧作品《郑和的后代》因其形式以及内容上的碎片性而显得晦涩难懂。它是一部英语剧作,其中却夹杂着中文、马来语、泰米尔语以及印度语;并且作者用英语熟练而生动地描述、探讨着“宦官”这一发生在中国古代的文化现象。该剧的以上艺术特点以及作者本身所体现出来的文化混杂特性是值得研究的。目前,国内外对郭宝]及其戏剧作品的学术研究尚处于起步阶段,对其相关的研究空间仍十分可观。“自我”与“他者”一直是二元对立结构中的两极,其中“自我”是二者中处于中心地位、具有优先特权的一极。在解构主义中,“自我”与“他者”之间的二元对立被不停地批判与消解,并且“他者”终于开始在理论中占领上风。在拉康的镜像理论中,婴儿第一次认识到自己的个体完整性是通过其在镜中的影像。那个影像是外在于它的,对其来说是一个他者。婴儿将与那个外在的影像产生认同,并将其当做自己的形象。拉康认为与之相似的认同过程在人的一生中都会不断发生。这意味着“自我”其实是经由“他者”构造出来的。拉康同时认为,镜像阶段之后当人们开始学习语言,他们便开始被处于象征域中的“大写他者”所约束与控制。“大写他者”是各种符号系统如语言结构、以及各种社会关系的集合。基于以上理论基础,这篇论文研究了戏剧作品《郑和的后代》中的自我以及他者的形象。在作品中不可靠的叙述者的形象代表了“自我”的形象,而文中郑和的形象则代表了“他者”的形象。没有明确身份的不可靠的叙述者最终与郑和产生了认同,他与郑和在文中形成了一个混杂体。该叙述者因此重获了自己的文化身份,而这个文化身份是一种混杂性的身份,它治好了叙述者的失语症并且在身份混杂性上使其成为了一个“郑和的后代”。文中所构造的语言以及文化的异托邦为叙述者与郑和的这种混杂创造了环境。这些异托邦是与“大写他者”协商的结果。该作品中的叙述者与郑和之间的混杂象征着“自我”与“他者”的混杂。因此该论文认为这部戏剧作品探索了消解“自我”与“他者”间二元对立的新的可能性。该可能性可以通过“自我”与“他者”之间的混杂来实现,并且是在作为与“大写他者”的协商结果的异托邦中得以实现的。
[Abstract]:Guo Bao, one of Singapore's most famous playwrights, is an English-Chinese bilingual playwright with Chinese background and overseas study experience.His life experience implies his own cultural intermixture, and his drama works studied in this paper also have obvious characteristics of cultural hybridity.The play studied in this paper, the descendant of Zheng he, is obscure because of its fragmentation in form and content.It is a play in English, which is mixed with Chinese, Malay, Tamil and Hindi, and the author describes it skillfully and vividly in English and explores the cultural phenomenon of eunuchs in ancient China.The above artistic features of the play and the cultural confounding characteristics embodied by the author themselves are worth studying.At present, the academic research on Guo Bao and his dramatic works is still in its infancy at home and abroad, and the relevant research space is still considerable."self" and "other" have always been the two poles in the dual opposites structure, in which "self" is the pole with priority and privilege.In deconstruction, the dualistic opposition between "self" and "other" is constantly criticized and dispelled, and the "other" finally begins to gain the upper hand in theory.In Lacan's mirror image theory, babies realize for the first time that their individual integrity is through their image in the mirror.The image is external to it and to it is another.The baby will identify with the external image and regard it as its own image.Lacan believes that a similar process of identity occurs throughout one's life.This means that the self is actually constructed by the other.Lacan also believes that when people begin to learn languages after the mirror phase, they begin to be constrained and controlled by the "uppercase others" in the symbolic domain.Uppercase other is a collection of symbolic systems such as linguistic structures and social relations.Based on the above theoretical basis, this paper studies the self and the image of the other in the drama the descendant of Zheng he.The image of the unreliable narrator in the works represents the image of "self", while the image of Zheng he in the text represents the image of "the other".The unreliable narrator with no clear identity is identified with Zheng he, and he and Zheng he form a mixed body in the text.As a result, the narrator regained his own cultural identity, which is a mixed identity, which cured the narrator's aphasia and made it a "descendant of Zheng he" in terms of identity confounding.The language and cultural heterotopia created the environment for the mixture of narrator and Zheng he.These heterodonts are the result of negotiations with the Capital others.The mixture of narrator and Zheng he symbolizes the mixture of self and other.Therefore, the paper argues that the play explores the new possibility of dissolving the duality between the self and the other.This possibility can be realized by mixing the self and the other, and is realized in a heterotopia as a result of negotiation with the uppercase other.
【学位授予单位】:广西大学
【学位级别】:硕士
【学位授予年份】:2015
【分类号】:I339.073

【参考文献】

相关期刊论文 前2条

1 陶家俊;身份认同导论[J];外国文学;2004年02期

2 刘文;;拉康的镜像理论与自我的建构[J];学术交流;2006年07期



本文编号:1761324


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    扩展阅读
    1. 《郑和的后代》中的“自我”与“他者”研究_CNKI学问
    2. 《郑和的后代》中的“自我”与“他者”研究
    3. 我们都一样,手握钢刀,下体淌血 - 评香港绿叶剧团《郑和》 - 十五言


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