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本文实践作者的“文化诗学”主张,利用跨文类研究的思路,在哈利奥特的《弗吉尼亚新大陆真相略述》和莎士比亚的剧本《亨利四世》、《亨利五世》之间穿梭,发掘其互文性。作者认为莎士比亚戏剧的核心旨趣,反复地纠结于颠覆与无序之产生,以及对它们的抑制。他从哈里奥特文本之中辨识出来的三种策略——异域求证(testifying)、立此存照(recording),以及昭告幽微(explaining),都反复地出现在戏剧之中,化为剧场对应物。像哈里奥特在新大陆一样,亨利历史联剧印证了马基雅维利的假说:王权即便是在驱使观众服膺权力之时,也发源于暴力与欺诈。
In this paper, the authors of this article advocate the use of “cultural poetics” to make use of the thinking of cross-genre studies. In this article, Halleat’s “Truth About the New World in Virginia” and Shakespeare’s plays “Henry IV” and “Henry V” Shuttle between the excavation of intertextuality. The author believes that the core interest of Shakespeare’s plays is repeatedly tangled in the emergence and suppression of subversion and disorder. The three tactics he identifies from the text of Harriet - testifying, recording, and explaining, both appear repeatedly in the theater and into the theater Correspondent. Like Harry Ott in the New World, Henry’s historic play confirms Machiavelli’s hypothesis that the monarchic power stems from violence and fraud even when it imparts power to the audience.