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奥尼尔戏剧中生态思想一直以来很少受到批评界的注意。其实,奥尼尔整个戏剧创作生涯都贯穿着生态哲学观演变趋势。其戏剧创作的三个时期分别指涉人与自然、人与他者以及人与自我的二元对立,映照着奥尼尔对于生态二元的态度由早期分裂自然转为晚期浪漫生态回归,由二元对立人生观向大道合一精神生态哲学观转向,与生态主义批评的发展趋势惊人一致。奥尼尔戏剧生态信仰嬗变与老庄和尼采之思想影响密不可分,与当今倡导人与自然和谐相处的时代呼声在思想境域不谋而合。奥尼尔戏剧生态思想对于今天的生态学建设有相当重要的启示意义。
The ecological thinking of O’Neill’s plays has always received little attention from critics. In fact, O’Neill throughout the theater creative career runs through the evolution of ecological philosophy trends. The three periods of theatrical creation refer to the dual opposition between man and nature, man and the other, and man and self respectively, reflecting that O’Neill’s attitude toward ecological dualism was changed from early split natural to late romantic ecological return, Opposition to the concept of life to the road to the spirit of the ecological philosophy of the concept of direction, and the development trend of ecocriticism surprisingly consistent. The evolution of O’Neill’s drama ecological belief is inextricably linked with Laozhuang’s and Nietzsche’s ideological influences. Today’s call for harmony between man and nature coincide ideologically. O’Neill’s theory of theater ecology has very important implications for the ecological construction of today.