Please wait a minute...
北京第二外国语学院学报  2016, Vol. 38 Issue (5): 111-124    DOI: 10.12002/j.bisu.2016.064
外国文学研究     
内与外:王尔德《莎乐美》的空间解读
姚漪捷 陈 丽
姚漪捷,华东理工大学外国语学院 陈丽,华东理工大学外国语学院
Inside and Outside: a Spatial Perspective on Oscar Wilde’s Salomé
YAO Yijie / CHEN Li
East China University of Science and Technology, Shanghai 200237, China
 全文: PDF(710 KB)   [HTML]()
摘要: 奥斯卡?王尔德是唯美主义运动的先驱人物,对他而言,审美的室内空间可以说是秩序与理性的避难所,而室外空间则常与人的主体性丧失和身份缺失联系在一起,正因为如此,王尔德笔下的大部分作品都将场景设置在了室内,在《谎言的衰朽》一文中,他更是借维维安之口明确表示,一踏出房间,“人就变得抽象而非个人化”了。然而,在其独幕悲剧《莎乐美》中,王尔德却刻意颠覆自己的空间偏好,将在文艺传统上通常发生在希律王宫殿内的“莎乐美之舞”搬到了开阔空旷的室外平台。通过室内外空间与剧中角色的相互作用,奥斯卡?王尔德为全剧奠定了疯狂、荒诞和恐怖的基调:在室外空间,莎乐美化身酒神狄俄尼索斯身边的疯女,为全剧染上了疯狂色彩;室内空间助长了男性凝视对莎乐美“自我”与主体意识的剥夺与摧毁,为此,她试图混淆室内外空间,但这一尝试徒劳无益,从中更诞生了对失去家宅的终极恐惧,催促着莎乐美一步步走向最后的悲剧。
关键词: 奥斯卡?王尔德《莎乐美》空间理论唯美主义主体性    
Abstract: As the exponent of the aesthetic movement, Oscar Wilde has paid almost excessive attention to the aestheticization of indoor spaces. For him, the humanly-decorated house offers a sense of order and reason, which has, to a large extent, assisted the formation of man’s ego and identity, while the outside world, filled with horror, confusion and anxiety, is always associated with the loss of subjectivity and individuality. This topophilia of his is well manifested in some of his more renowned works, while its fullest expression can no doubt be found in The Decay of Lying, where he would complain in Vivian’s voice how “one becomes abstract and impersonal” out of doors. In his one-act tragedy Salomé, however, the event which was traditionally believed to take place within Herod’s palace was deliberately set outside the doors. To a certain degree, this arrangement has set the tone for the whole tragedy. Through the employment of the outdoor spaces and the deliberate confusion of the Inside with the Outside, Oscar Wilde has successfully created an atmosphere of madness, absurdity and horror that has haunted Salomé from the very beginning: the outdoor spaces, in facilitating the identification of Salome with the image of Maenad, give the play a touch of madness; Salome’s deliberate attempts at confusing the Inside with the Outside, principally motivated by the male gaze that permeates the indoor spaces and costs Salome her subjectivity, was plagued with futility and fruitlessness, from whence came the horror of homelessness that has consummated her tragedy.
Key words: Oscar Wilde    Salomé    spatial theory    aestheticism    subjectivity
收稿日期: 2016-06-01 出版日期: 2018-03-20
PACS:  I561.073  
基金资助: 本文是华东理工大学中央高校基本科研业务费专项基金“英美文学与文化研究”项目(项目编号:WS1325003)——“内与外:王尔德《莎乐美》的空间解读”的成果。
作者简介: 姚漪捷,华东理工大学外国语学院,200237,研究方向:英语语言文学。电子邮箱:yaoyijj@qq.com 陈丽,华东理工大学外国语学院,200237,研究方向:英美文学。
服务  
把本文推荐给朋友
加入引用管理器
E-mail Alert
RSS
作者相关文章  
姚漪捷 陈 丽

引用本文:

姚漪捷 陈 丽. 内与外:王尔德《莎乐美》的空间解读[J]. 北京第二外国语学院学报, 2016, 38(5): 111-124.

YAO Yijie / CHEN Li. Inside and Outside: a Spatial Perspective on Oscar Wilde’s Salomé. Journal of Beijing International Studies University, 2016, 38(5): 111-124.

链接本文:

https://journal.bisu.edu.cn/CN/10.12002/j.bisu.2016.064        https://journal.bisu.edu.cn/CN/Y2016/V38/I5/111

[1]Bachelard, G. La Poétique de L’Espace[M]. Paris: Presses Universitaires de France,1961. [2]Baudrillard, J. The Consumer Society: Myths and Structures[M]. London: Sage Publications,1998. [3]Baudrillard, J. For a Critique of the Political Economy of the Sign[M]. Levin, C (Trans.). New York: Telos Press,1981. [4]Chai, L. Aestheticism: The Religion of Art in Post-Romantic Literature[M]. New York: Columbia University Press,1990. [5]Dodds, E R. Maenadism in the Bacchae[J]. Harvard Theological Review,1940(3): 155~176. [6]Ellmann, R. Oscar Wilde[M]. London: Penguin,1988. [7]Euripides. Bakkhai[M]. New York: Oxford University Press,2001. [8]Finney, G. Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century[M]. New York: Cornell University Press,1989. [9]Hamilton, W. The Aesthetic Movement in England[M]. London: Reeves & Turner,1882. [10]Horkheimer, M. Eclipse of Reason[M]. New York: Oxford University,2004. [11]Jacobs, R. Covent Garden: Its Romance & History[M]. London: Simpkin, Marshall, Hamilton, Kent & Co. Ld,1913. [12]Mayhew, H. London Labour and the London Poor[M]. Ware: Wordsworth Editions Limited,2008. [13]Mulvey, L. Visual Pleasure and Narrative Cinema[J]. Screen,1975(3): 6~18. [14]Ovid. The Metamorphoses[M]. New York: The Viking Press,1958. [15]Ruskin, J. Modern Painter Vol.1[M]. London: George Allen,1906. [16]Sartre, J-P. No Exit, and Three Other Plays[M]. New York: Vintage International,1989. [17]Sartre, J-P & Barnes, H E (Trans.). Being and Nothingness: A Phenomenological Essay on Ontology[M]. New York: Washington Square Press,1984. [18]Sheppard, F H W. Survey of London, Vol. XXXVI: The Parish of St. Paul, Covent Garden[M]. London: Athlone Press,1970. [19]Vickers, N J. Diana Described: Scattered Woman and Scattered Rhyme[J]. Critical Inquiry,1981(8): 265~279. [20]Wilde, O. Essays and Lectures[M]. London: Methuen,1909a. [21]Wilde, O. Intentions[M]. London: Methuen & Co.,1909b. [22]Wilde, O. The Picture of Dorian Gray and Three Stories[M]. New York: Signet Classics,2007. [23]阿尔贝•加缪. 西西弗斯神话:英汉对照[M]. 北京: 中国对外翻译出版有限公司,2012. [24]奥斯卡•王尔德. 莎乐美(中英法三语对照版)[M]. 上海: 上海译文出版社,2011. [25]奥斯卡•王尔德. 自深深处[M].南京: 译林出版社,2015. [26]福柯. 规训与惩罚:监狱的诞生[M].北京: 生活•读书•新知三联书店,1999. [27]周小仪. 唯美主义与消费文化[M]. 北京: 北京大学出版社,2002.
[1] 宋以丰. 从戈夫曼的“非均质性”概念看翻译的社会性[J]. 北京第二外国语学院学报, 2018, 40(4): 68-77.
[2] 黎昌抱 李 菁. 雌雄同体的“她者”——译者主体性视角下宋碧云《啼笑皆非》汉译研究[J]. 北京第二外国语学院学报, 2017, 39(2): 55-69.
[3] 王晓莺. 现行女性主义翻译理论之缺憾——以张爱玲的中英翻译为例[J]. 北京第二外国语学院学报, 2015, 37(8): 14-.
[4] 黎昌抱 黄金珠. 译者主体性视角下张爱玲《桂花蒸,阿小悲秋》自译与他译比较研究[J]. 北京第二外国语学院学报, 2015, 37(4): 29-.
[5] 李亦天 陈 丽. 从三个“我”看王尔德的唯美主义[J]. 北京第二外国语学院学报, 2015, 37(10): 61-.
[6] 王珊珊. 玛丽·罗思夫人的主体建构——论《潘菲利亚致安菲兰瑟斯》中的“忠贞”[J]. 北京第二外国语学院学报, 2013, 35(12): 48-54.