| 柏 云 彩.文本的历史性与历史的文本性——论汤姆·斯托帕德《罗森克兰茨和吉尔德斯特恩已死》的互文性[J].南京邮电大学学报(社会科学版）,2012,(03):69~75 |
| 文本的历史性与历史的文本性——论汤姆·斯托帕德《罗森克兰茨和吉尔德斯特恩已死》的互文性 |
| The historicity of text and the textuality of history——the intertextuality of Tom Stoppard's Rosencrantz and Guildenstern Are Dead |
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| 中文关键词: 戏剧改编 汤姆?斯托帕德 《罗森克兰茨和吉尔德斯特恩已死》 互文性 历史性 |
| 英文关键词:theatrical adaptation Tom Stoppard Rosencrantz and Guildenstern Are Dead intertextuality historicity |
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| 中文摘要: |
| 从解构主义互文性理论的视角来看，汤姆?斯托帕德的代表作《罗森克兰茨和吉尔德斯特恩已死》与威廉?莎士比亚的《哈姆雷特》和塞缪尔?贝克特的《等待戈多》存在互文关系。承文本《罗森克兰茨和吉尔德斯特恩已死》与蓝文本《哈姆雷特》和《等待戈多》之间的互文关系的实质是创造性的差异或他性，而不是同一性或相似性。《罗森克兰茨和吉尔德斯特恩已死》通过它与蓝文本的他性，以象征的手法反映了存在主义哲学思想，揭示了第二次世界大战之后的社会、历史与政治现实以及后现代社会人类的心理现实，具有鲜明的历史性与警世意义。 |
| 英文摘要: |
| Viewed from the perspective of the intertextual theory of deconstructionism, Tom Stoppard's Rosencrantz and Guildenstern Are Dead has intertextual relationships with William Shakespeare's Hamlet and Samuel Beckett's Waiting for Godot. The essence of the intertextual relationships between the hypertext Rosencrantz and Guildenstern Are Dead and its hypotexts Hamlet and Waiting for Godot is creative difference or alterity instead of affinity or similarity. Rosencrantz and Guildenstern Are Dead, through its alterity between it and its hypotexts, reflects the existentialist philosophical ideas in a symbolic way, reveals the social, historical and political realities and the psychological reality of human beings in the postmodern Western society, thereby having distinctive historicity and the significance of admonishing the world. |
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