法国荒诞派戏剧真实性的透视[法语论文]

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东方荒谬派的戏剧是在二战以后人类面临战斗灾害、社会成绩等一系列迷惑的配景下发生的。其发生的思惟本源是存在主义的哲学。 本文以剖析法国荒谬派戏剧家的代表人物尤奈斯库、贝克特等人的代表著作为切入点,周全展现了荒谬派戏剧家们笔下的戏剧著作在著作主题方面表现了人类生涯的窘境:人与人之间缺乏沟通、人与天然间充斥了和睦谐的身分、人与社会化成长之间发生的抵触。恰是因为古代社会中存在的各种成绩,才使精力比拟澄彻的人发生了困惑、发生了破灭、发生了各种不肯定的心思过程,荒谬派主题的多重性恰好吻合了古代人这些庞杂的心态,以其主题和内在的多重性特点博得了谁人时期很多人的喜爱,精确反应了古代人庞杂的心坎世界。 为了在戏剧中真实地表现人类生涯的忧?,荒谬派戏剧家在脚本创作时采取了混乱压制的配景陈设、借助灯光、音响、服装等舞台表示手腕来真实地表现出谁人时期人生涯的孤单、压制、同化,用漫画式、夸大式的镜头塑造了人类真实生涯中存在的各种荒谬的感到。另外,戏剧家在脚本写作时也把剧中人物的台词写得四分五裂、不知所云,但可折射出人的精力的充实,即使是这些混乱的说话,但也可细心回味出很多哲理。 另外,本文还从戏剧的构造和其他方面剖析了荒谬派戏剧中的公道身分。总之,法语毕业论文,固然荒谬派戏剧作为文学派别的小分支,法语论文网站,固然短小,但其荒谬外面的面前反应了其时生涯中真实的人类生涯及精力状况,这些价值照样应当确定的。

Abstract:

Oriental school drama is absurd after World War II, the human face occurred with King fighting disasters, such as a series of social problems puzzled the. The thought origin is existential philosophy. In this paper, the analysis French absurd dramatist representative Ionesco, Beckett, who works on behalf of the school as a starting point, comprehensive display of the absurd sent dramatists writing plays in terms of theme of the works showed the dilemma of human life: between people lack communication, between man and nature in full harmony between harmonic identity, and the growth of the community of conflict. Is precisely because of the ancient society in the presence of various grades, to make energy compared to transparently clear and limpid produce puzzled, the occurrence of a burst, certainly not all mind process, absurd sent the theme of multiplicity coincides with the ancient people of these complex mentality, won during the period of people who love a lot of people to the theme and inherent characteristic of multiplicity, accurately reflect the ancient complex heart world. In order to reflect human life in the drama of sorrow? , absurd sent dramatist in the script creation take the chaos suppression of background furnishings, with light, sound, costume and stage said the wrist to truly show in those days life alone, pressing, assimilation, with cartoon style, exaggerated - lens shaped the human real life in the presence of all feel ridiculous. In addition, dramatist in script writing the characters of the lines written apart, unintelligible, but reflects the spirit of full, even if is the confusion of the talk, but also careful aftertaste a lot of philosophy. In addition, this article also from the drama structure and other aspects of the absurd drama in the school fair status. In a word, although the absurd school drama as literature faction of the small branches, although short, but in front of the outside of the absurd reaction the meantime career in real human life and the energy situation, these values still should be determined.

目录:

封面   1-2  
文摘   2-3  
英文文摘   3-4  
导 语   4-8  
1 荒诞派戏剧的发展及特征   8-12  
    1.1 荒诞派戏剧的发展   8-9  
        1.1.120世纪50年代至70年代结束及其作用   8-8  
        1.1.2 荒诞派戏剧的主要代表人物及著作   8-9  
    1.2 西方文学乃至西方戏剧中对“真”提倡的传统   9-10  
    1.3 荒诞派戏剧的特点   10-12  
2 荒诞派戏剧中“真”的透视   12-33  
    2.1 荒诞剧反映主题之“真”   12-23  
        2.1.1 真实体现了人与人、自然、社会之间由冲突造成的痛苦和后果   12-20  
        2.1.2 多重主题与多种象征意义   20-23  
    2.2 剧本中语言及剧中人的对白贴近生活的真实化   23-30  
        2.2.1 语言的断续、间断等特点是人与人之间真实处境的再现   23-26  
        2.2.2 杂乱的语言下透露着生活中的真像   26-28  
        2.2.3 语言的哲理性及隐喻性   28-30  
    2.3 剧本的反理性结构映照出的“真”生活   30-33  
        2.3.1 循环式结构形态,也叫重复式结构   30-31  
        2.3.2 错位式结构形态   31-32  
        2.3.3 戏中戏及其他结构   32-33  
3 荒诞派戏剧带给社会与人类存在的启示   33-35  
参考文献   35-36  
致谢   36-37  
个人简历、在学期间发表的学术论文与探讨成果   37  

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