首页> 外文学位 >Reading Tang Xian-zu in the late twentieth century: 'Yu-ming Tang Si Meng' ('The Four Dreams of Yu-ming Hall').
【24h】

Reading Tang Xian-zu in the late twentieth century: 'Yu-ming Tang Si Meng' ('The Four Dreams of Yu-ming Hall').

机译:读二十世纪末的唐宪祖:《玉明堂四梦》(《玉明堂四梦》)。

获取原文
获取原文并翻译 | 示例

摘要

This dissertation is a critical reading of Tang Xian-zu (Tang Hsien-tsu) as a Nietzschean overman in light of Nietzsche's philosophy of ubermensch and his conception of tragedy, which emphasizes self-overcoming as a means of transcending individual illusion and conventional ideology. Yu-ming Tang Si Meng or The Four Dreams of Yu-ming Hall, as representative of Tang's dramatic art, will be analyzed as a whole to understand Tang's qing-zhi zhe xue as a philosophy of the transcendence of love. The analysis will demonstrate that this philosophy is the unifying theme of the four plays, but that it is defined and presented in different developmental stages from the first play to the fourth.; Individual plays will first be analyzed by an intertextual approach to reveal Tang's unconventional protests against the overbearing political authorities and social values of feudalism. The dramatic treatments, theatrical effects and thematic presentations will be discussed to demonstrate how Tang employs the lyrical potential of the classical Chinese drama to convey his philosophy. The developing themes with other relevant evidence will be explored to argue that Tang also gradually transcends his individual ideology, moving from the world view of a chivalrous Confucian to that of a Taoist artist. However, a semiotic feminist reading will show that Tang is subject to the patriarchal culture of sixteenth-century China.; Traditional Western theories of drama are integrated into the analysis, so are the Chinese literary traditions of Daoism, Confucianism, and Buddhism. Because Chinese dramatic conventions do not fit neatly into the generic categories of comedy and tragedy, Tang's first two plays are treated as "tragicomedies of romantic love" and his last two plays as "comitragedies of enlightenment."
机译:本文是根据尼采的超哲学和悲剧性概念对唐显祖(唐显祖)作为尼采超人的批判性解读,他强调自我克服是超越个人幻想和传统意识形态的一种手段。作为唐代戏剧艺术的代表,汤思明《汤思蒙》或《汤明堂的四个梦》将作为一个整体进行分析,以理解唐思清的哲学是对爱情的超越哲学。分析表明,这一哲学是四部剧的统一主题,但从第一部剧到第四部剧的发展阶段,它的定义和呈现方式不同。首先将通过互文分析方法来分析个人戏剧,以揭示唐家璇对霸道的政治权威和封建社会价值观的非常规抗议。我们将讨论戏剧性的治疗方法,戏剧效果和主题演讲,以展示唐如何利用中国古典戏剧的抒情潜力来传达他的哲学。将探讨不断发展的主题以及其他相关证据,以证明唐朝也逐渐超越了自己的个人意识形态,从侠义儒家的世界观转向道家艺术家的世界观。但是,根据符号主义的女权主义读物,可以看出唐受制于16世纪中国的父权制文化。分析中融合了西方的传统戏剧理论,道家,儒家和佛教的中国文学传统也被纳入分析。由于中国的戏剧习俗不能很好地适合喜剧和悲剧的一般范畴,因此唐的前两部戏剧被视为“浪漫爱情的悲喜剧”,而其后两部戏剧被视为“启蒙的喜剧”。

著录项

  • 作者

    Chiu, Tzu-Shiu Beryl.;

  • 作者单位

    University of Georgia.;

  • 授予单位 University of Georgia.;
  • 学科 Theater.; Literature Comparative.; Literature Asian.
  • 学位 Ph.D.
  • 年度 1997
  • 页码 243 p.
  • 总页数 243
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 公共建筑;文学理论;
  • 关键词

  • 入库时间 2022-08-17 11:48:59

相似文献

  • 外文文献
  • 中文文献
  • 专利
获取原文

客服邮箱:kefu@zhangqiaokeyan.com

京公网安备:11010802029741号 ICP备案号:京ICP备15016152号-6 六维联合信息科技 (北京) 有限公司©版权所有
  • 客服微信

  • 服务号