摘要
在存在主义戏剧《禁闭》中,萨特将自己对现实荒诞性的理解转化为"地狱"情境的特殊安排。地狱布局有若一间陈设为第二帝国时期的客厅,它没有镜子和刑具,灯火通明,不分昼夜,在这个全封闭的空间里,三个鬼魂形成了互相追逐的三角关系。剧中呈现的地狱情境与人们对地狱的常规想象大相径庭,却是一种反映了现实生活经历又富于哲理意蕴的情境。文章主要从地狱情境的特殊性着眼分析《禁闭》的自我主题,以期把握这一情境所体现的道德意义和形而上性质。
In his existentialist drama Interval, Jean Paul Same renders his understanding of the reality absurdity into a hell context, a special situation arrangement. The hell has a layout that resembles the furnishing of a living room in the Second Empire period, without any mirror and instruments of torture, brightly lit day and night. In this completelydosed space, three ghosts pursue each other forming a triangular relationship. The hell context is out of people＇s imagination, but it is a reflection of the real life experience and it has philosophical implications. This paper, from the perspective of hell context, makes an analysis of the drama＇s theme of the self in order to understand its moral and metaphysical meaning.
出处
《无锡商业职业技术学院学报》
2009年第5期105-109,共5页
Journal of Wuxi Vocational Institute of Commerce
