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从解构主义互文性理论的视角来看,汤姆.斯托帕德的代表作《罗森克兰茨和吉尔德斯特恩已死》与威廉.莎士比亚的《哈姆雷特》和塞缪尔.贝克特的《等待戈多》存在互文关系。承文本《罗森克兰茨和吉尔德斯特恩已死》与蓝文本《哈姆雷特》和《等待戈多》之间的互文关系的实质是创造性的差异或他性,而不是同一性或相似性。《罗森克兰茨和吉尔德斯特恩已死》通过它与蓝文本的他性,以象征的手法反映了存在主义哲学思想,揭示了第二次世界大战之后的社会、历史与政治现实以及后现代社会人类的心理现实,具有鲜明的历史性与警世意义。
From the perspective of deconstructive intertextuality, Tom Stoppad’s masterpieces Rosencrantz and Gilderstern are dead and William Shakespeare’s Hamlet and Samuel Beckett “Waiting for Godot” there intertextual relationship. The essence of the intertextual relationship between the text of the text “Rosencrantz and Guilderstern” and the blue text “Hamlet” and “Waiting for Godot” is that of a creative difference or otherness, not of identity or Similarity. “Rosencrantz and Gilderstern Are Dead” Through its metaphors for the blue text and its symbolism, it reflects the existentialist philosophical thinking and reveals the social, historical and political realities after the Second World War As well as the psychological reality of mankind in the postmodern society, has a distinct historical and warning significance.