《英語(yǔ)語(yǔ)言文化論文《等待戈多》語(yǔ)言的詩(shī)化與荒誕》由會(huì)員分享，可在線閱讀，更多相關(guān)《英語(yǔ)語(yǔ)言文化論文《等待戈多》語(yǔ)言的詩(shī)化與荒誕（2頁(yè)珍藏版）》請(qǐng)?jiān)谘b配圖網(wǎng)上搜索。

1、 《等待戈多》語(yǔ)言的詩(shī)化與荒誕 Abstract Language is an important element of literature, especially of drama. Compared with the traditional playwrights, Samuel Beckett, the founder of the school of the theatre of the absurd, opens

2、 up a new prospect for dramatic language. Waiting for Godot is Beckett’s masterpiece whose language pattern has a strong poetic quality. When dealing with the dialogue, Beckett uses rhyme and alliteration which are common to be seen in poetry. The brief, parallel and symmetric sentence structure i

3、n the play endows the play with several features of poetry. What’s more important, lyricism of the language has taken the place of its logicality. Therefore, the characters in the play are enable to express their feeling more timely and freely. As an absurd play, Waiting for Godot prevails with ill

4、ogicality and absurdity which perfectly conveys the impossibility of people’s communication. The repetition of the same words, phrases and paragraphs make the language long-winded and meaningless; the excessive use of “pause” and “silence” make the language irrelevant and broken. Thanks to the wordy

5、 and meaningless language, Beckett can portrays realistically man’s mental condition— disorder and emptiness. As a result, the contrast between the beauty of its language form and the absurdity of its language content brings about a sharp sarcasm, implying that in an irrational society, man has los

6、t his essence as a man and language is no longer a communication tool. Key Words: Godot; Beckett; poetic quality; absurdity 摘 要 文學(xué)的第1要素是語(yǔ)言。對(duì)于視覺(jué)和聽覺(jué)密切結(jié)合的戲劇藝術(shù)而言， 語(yǔ)言更是最主要、最直接的表現(xiàn)手段。與傳統(tǒng)的戲劇作家相比，愛(ài)爾蘭劇作家、荒誕派戲劇藝術(shù)的主要奠基人貝克特為戲劇語(yǔ)言開辟了1方新的天地。特別是在其代表作《等待戈多》中，貝克特對(duì)語(yǔ)言的獨(dú)創(chuàng)性運(yùn)用使該作品別具魅力。 在語(yǔ)言形式上，《等待戈多》具有明顯的詩(shī)歌化傾向。貝克特

7、在處理劇中對(duì)白時(shí)，采用了尾韻、頭韻、以及半諧音等詩(shī)歌中常見(jiàn)的修辭手法以增強(qiáng)語(yǔ)言的詩(shī)歌化傾向而獲得1種音樂(lè)感。另外《等待戈多》對(duì)白中，句子結(jié)構(gòu)簡(jiǎn)短對(duì)稱，聲音的對(duì)仗和意義的排偶使對(duì)白頗具幾分詩(shī)的形式。 更為重要的是，貝克特經(jīng)常讓劇中的人物以詩(shī)化的語(yǔ)言抒情，以語(yǔ)言的抒情性代替語(yǔ)言的邏輯性。同時(shí)，在其抒情性的語(yǔ)言中，構(gòu)筑出形象而生動(dòng)的意象，蘊(yùn)含著無(wú)限的詩(shī)意。 在語(yǔ)言內(nèi)容上，《等待戈多》的對(duì)白消除了相應(yīng)的邏輯性，從而也就消解了人與人相互交流的可能性。而經(jīng)常重復(fù)的相同或相近的詞、句或段落，使人物語(yǔ)言羅嗦不堪，直喻出作品的主題。劇中停頓、沉默的頻繁使用使劇作節(jié)奏拖沓，人物語(yǔ)言支離破碎，然而人物吞吞吐吐，猶

8、豫遲疑的語(yǔ)言正淋漓盡致的表現(xiàn)了他們混亂的思想狀態(tài)和空洞的思想內(nèi)涵。 這樣，語(yǔ)言形式上的美感與語(yǔ)言內(nèi)容上的荒誕，形成了強(qiáng)烈的反諷意味， 暗寓了在1個(gè)非理性化的社會(huì)里，人失去作為人的本質(zhì)，語(yǔ)言也失去了其原有效用，人類社會(huì)外在形式上的進(jìn)步、發(fā)展與社會(huì)實(shí)質(zhì)上的墮落形成了強(qiáng)烈的對(duì)比。 關(guān)鍵詞：戈多；貝克特；詩(shī)化；荒誕 ...............