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易卜生戏剧中的诸多人物形象既有独特的个性,彼此之间也有相近相通性,构成了一个个形象谱系。譬如《培尔·金特》中的索尓薇格,她在易卜生戏剧中并非一个孤立的存在,而是从一个鼓舞人心的道德理想的化身,不断发展、变异,形成了一个由本象、类象、反象和超象共同组成的形象谱系。其中,本象指《培尔·金特》中所呈现的索尔薇格形象,类象为与本象类似、非常接近之象,如《玩偶之家》中的娜拉与《罗斯莫庄》中的碧爱特,反象为与本象相反、与类象相对之象,如《海达·高布乐》中的海达,超象为超越本象之象,暗示着本象进一步发展的可能性,如《罗斯莫庄》中的吕贝克。综上,索尔薇格形象谱系分别从正反合三个层面强化了易卜生戏剧的伦理力量。
Many characters in Ibsen’s plays have unique characters and similarities with each other, forming a pedigree of images. For example, Sogou Wei Wege in “Peer Gite” was not an isolated existence in Ibsen’s drama. Instead, she developed and mutated from an inspirational embodiment of moral ideal, , Image, anti-image and super-image of the common lineage pedigree. Among them, the image refers to the image of Solvig in the “Peer Gite”, which is similar to the image, and is very close to the image. For example, Nora in Doll’s House and “ ”Bi Ai Te, reverse as the contrary with the image, and the image of the opposite, such as“ Haida Gambo ”in the Haida, super image as the image of this image, suggesting that the image further The possibility of development, such as “Rosemount Zhuang” in Lubeck. To sum up, Solvig’s pedigrees strengthen the ethical power of Ibsen’s drama from three aspects: positive and negative.