| dc.contributor.advisor | 阮若缺 | zh_TW |
| dc.contributor.advisor | Juan, Rachel | en_US |
| dc.contributor.author (作者) | 吳蕙糸 | zh_TW |
| dc.contributor.author (作者) | Wu, H. Ariel | en_US |
| dc.creator (作者) | 吳蕙糸 | zh_TW |
| dc.creator (作者) | Wu, H. Ariel | en_US |
| dc.date (日期) | 2001 | en_US |
| dc.date.accessioned | 18-九月-2009 16:39:22 (UTC+8) | - |
| dc.date.available | 18-九月-2009 16:39:22 (UTC+8) | - |
| dc.date.issued (上傳時間) | 18-九月-2009 16:39:22 (UTC+8) | - |
| dc.identifier (其他 識別碼) | G91NCCU0512012 | en_US |
| dc.identifier.uri (URI) | https://nccur.lib.nccu.edu.tw/handle/140.119/35969 | - |
| dc.description (描述) | 碩士 | zh_TW |
| dc.description (描述) | 國立政治大學 | zh_TW |
| dc.description (描述) | 英國語文學研究所 | zh_TW |
| dc.description (描述) | 90 | zh_TW |
| dc.description.abstract (摘要) | 尤金．尤涅斯科的戲劇，慣被稱作是前衛或荒謬劇。在這兩個名詞之下，這位二十世紀中期的劇作家的作品常被詮釋為二次世界大戰後遺症下的產物，在無邏輯可循的形式中表現出個人對充滿失落感的世界的焦慮不安。因為戲劇表現手法的創新，其作品被認為是對於傳統的突破。但是尤涅斯科自己在他的評論文章中卻提出不同的看法。劇作家認為他並沒有拒絕傳統，相反的，他繼承傳統。對他來說，在代代的藝術及文學作品之間傳遞著永恆的實相，而他的作品也同樣的繼承了這個傳統。因此，尤涅斯科的評論文章呈現出他所關注的理念是超乎其時代的人類處境，在這點上，我們觀察到劇作家的理念與批評家的評論之間的差異。在本論文中，我們試著以尤涅斯科的觀點，去探討他的作品，而細讀是我們的研究方法。同時我們也將批評家們與劇作家的觀點交互比較。本論文分為五章。在第一章〈序論〉中，我們對整篇論文作概要介紹。第二章〈尤金．尤涅斯科的「真相」〉是將尤涅斯科於其評論文章中所提出的”實相”觀念作一闡述。第三章〈無形的顯相〉中，我們將探討他約兩部劇作，《禿頭女高音》和《椅子》，並用以比較批評家與劇作家不同的觀點。第四章〈《馬克特》：只是《馬克白》的曲解嗎?〉中，我們將在莎士比亞和尤涅斯科約兩部作品的文本比較中探尋這位現代作家聲稱的歷史傳承。最後，在第五章〈結論〉中，我們將呈現分析的結果。我們希冀於細讀分析尤涅斯科的評論文章和三部劇本中，能對文學與人類的存在之間的關係有更進一步的瞭解。 | zh_TW |
| dc.description.abstract (摘要) | "Avant-garde" and "The Theatre of the Absurd" are the two familiar terms attached to the plays of Eugene lonesco. In the name of the two terms, the works of the mid-twentieth-century playwright are usually interpreted to be the products in the aftermath of World War II and to present in an illogical form the anxieties of an individual in the face of the world sullied by the sense of loss. Because of his highly original style, lonesco "s works have often been regarded as a break with the tradition. However, lonesco himself claims different opinions of his works in his critical writings. The playwright States, that he does not fight against the tradition; on the contrary, he inherits the tradition. For him, there is a delivery of the permanent "truths" transferred in the artistic and literary works of generations, and his works likewise take this succession. Thus, lonesco`s critical writings reveal his concern that goes@beyond the human conditions in his time, and we observe the difference between the playwright`s ideas and the critics` judgments. In this thesis, an attempt is made to consider lonesco`s plays by means of his arguments, and close reading is our methodology for study. At the same time, the critics` opinions are supplied to make comparison with the playwright`s under the consideration of the plays. This thesis contains five chapters. In the first qhapter, "Introduction," we give an overall presentation for the whole thesis. The second chapter, "The `Truth` of Eugene lonesco," is the elucidation of lonesco`s theory of "truth," as revealed in his critical` writings. In the third chapter, "The Presence of the Absence," we make examination on two of his plays. The Bald Soprano and The Chairs, on the basis of his ideas and the critics` opinions. As for in the fourth chapter, "Macbett: Merely A Distortion of Maebeth?," we make a comparison between Shakespeare`s Macbeth and lonesco`s Macbett to trace the historical succession claimed by,the modern playwright. At last, we present the results of our analysis in the fifth chapter, "Conclusion." In the close reading of lonesco`s critical writings and three plays, we expect to contribute some clarifications to the relation between literature and our existence. | en_US |
| dc.description.tableofcontents | Acknowledgements-----iii Chinese Abstract-----v English Abstract-----vi Chapter 1 Introduction-----1 Chapter 2 The "uth" of Eugene lonesco-----6 a. Philosophy: the nature of "truths"-----6 b. Contradiction: "truths" and expression-----20 c. Avant-garde: the representation of "truths"-----25 Chapter 3 The presence of the absence-----34 a. The efforts of the critics-----34 b. The two plays oflonesco`s: The Bald Soprano and The Chairs-----41 c. The presence of the absence-----46 d. Ionesco`s defense-----68 e. Esslin and lonesco-----75 Chapter 4 Macbett: merely a distortion of Macbeth?-----80 Chapter 5 Conclusion-----95 Works Cited-----100 | zh_TW |
| dc.language.iso | en_US | - |
| dc.source.uri (資料來源) | http://thesis.lib.nccu.edu.tw/record/#G91NCCU0512012 | en_US |
| dc.title (題名) | 尤金‧尤涅斯科的「真相」：其評論文章及三部劇本的細讀分析 | zh_TW |
| dc.title (題名) | The "Truth" of Eugene Ionesco: a close reading of his critical writings and three plays | en_US |
| dc.type (資料類型) | thesis | en |
