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本文从特别性和普遍性的关系角度分析渥雷·索因卡的戏剧《死亡与国王的马车夫》中自我与民族、种族身份与普遍人性、约鲁巴文化与宇宙价值的呈现问题。本文提出,剧中国王的马车夫所经历的传统死亡仪式肩负着实现约鲁巴文化中一个隐形循环的使命,它连接自然、人类与神灵,因此保持此循环的无尽运行,意味着在这个关键的历史转折期能保存约鲁巴文明的尊严与秩序,以及约鲁巴社区的完整与统一。在剧中,刚从英国留学归来的国王长子欧郎第认为,欧洲文化价值是英帝国主义的工具,因此执意通过传统的死亡仪式来宣告结束欧洲价值判断,指导欧洲之外的个人与传统。他通过自我牺牲式的反殖民斗争重新肯定了约鲁巴传统的合理性与尊严,并获得了普遍人性的纯粹本质:自由、平等与尊重。
This paper analyzes the present situation of self and nation, ethnic identity and universal humanity, Yoruba culture and cosmic value in the drama “Death and the King’s Coachman” by Walle Soyinker from the perspective of the relationship of particularity and universality. This paper proposes that the traditional death ritual experienced by the chariot king of the play of the Chinese king shoulders the mission of realizing an invisible cycle in Yoruba culture, which connects nature, mankind and the spirits. Therefore, keeping this cycle running endless means that at this key The historical turning point can preserve the dignity and order of the Yoruba civilization and the integrity and unity of the Yoruba community. In the play, the eldest son of the elite king Aurang, who just returned from studying in the UK, believes that European cultural values are a tool of British imperialism and insisted on using traditional death ceremonies to declare an end to European value judgments and guide individuals and traditions outside Europe. Through his self-sacrificing anti-colonial struggle, he reaffirmed the legitimacy and dignity of the Yoruba tradition and gained the pure essence of universal humanity: freedom, equality and respect.