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利用福柯的“疯癫”理论重新阅读马洛的《浮士德博士的悲剧》,我们可以发现浮士德博士无止境追求知识的心境下隐藏着疯癫的迹象。文艺复兴是疯癫的黄金时期,这种疯癫的正当性恰恰在于它是真实的。浮士德博士的疯癫正是由其对知识的无尽渴望激发的。浮士德疯癫的迹象亦可从其行为变化和话语演变中窥见一斑。此外,除了自身因素外,浮士德博士的疯癫亦是其特定生活时期的产物。他的疯癫与文艺复兴时期的自由和文明有密切的关联。浮士德博士的悲剧命运表明,胜利既不属于上帝,也不属于撒旦,而是属于疯癫。
Using Foucault’s “madness” theory to reread Marlow’s “Dr. Faust’s Tragedy,” we can find the signs of insanity hidden under Dr. Faust’s endless pursuit of knowledge. Renaissance is the golden age of madness. The legitimacy of this madness lies in the fact that it is real. Dr. Faust’s madness is inspired by its endless desire for knowledge. Faust signs of madness can also be evident from the changes in their behavior and discourse evolution. In addition, apart from its own factors, Dr. Faust’s madness is a product of his particular life. His madness is closely linked to the freedom and civilization of the Renaissance. The tragic fate of Dr. Faust shows that victory belongs neither to God nor Satan but to madness.