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本论文从主体认同角度入手,探讨《新婚的一对》中主人公的主体性建构的不同策略,并由此出发梳理剧作中的深层人物特征及形象塑造。运用拉康的理论,我们可以看出,罗拉主体性的依赖性的一面。此外,她作为阿克尔主体的他者,在阿克尔主体性的构建中,成为阿克尔主体的主动投射对象,促成了阿克尔主体性的形成。而阿克尔反身作为麦昔尔德主体的他者,对麦希尔德的主体性强化也发挥了重要的作用。麦昔尔德在构建中通过象征文本保证了主体性的稳定和独立。她作为新女性的形象代表,构建了剧作的深层性别意义。从主体性的角度审视剧作,可以挖掘出以往被我们忽略或误解的人物形象的同时,丰富读者对作品中女性形象的理解,深化对比昂逊剧作中文本意义和人物象征的研究。
Starting from the perspective of subject identity, this dissertation explores the different tactics of the subjectivity construction of the protagonist in the “newly married couple”, and from this, analyzes the characteristics of the characters in the drama and the image shaping. Using Lacan’s theory, we can see that Rolla’s dependence on subjectivity. In addition, as the other’s main body, her become the active projection target of Acker’s subject in the construction of Aker’s subjectivity and contributed to the formation of Aker’s subjectivity. The other, that Akerr reflexively acts as the main body of the film, also played an important role in the reinforcement of the main body of the film. In the course of its construction, Metsilde guarantees the stability and independence of subjectivity through symbolic texts. As the image representative of the new female, she constructs the deep gender significance of the play. From the perspective of subjectivity, we can excavate the characters that were neglected or misunderstood by us in the past while enriching the readers’ understanding of the female images in the works and deepening the study of the textual meanings and the symbolic characters in the works by the Angus Theater.