論哈羅德品特戲劇中權(quán)力爭(zhēng)奪的構(gòu)建-品特早期四部劇作的話語(yǔ)分析_29432.pdf

1、南京財(cái)經(jīng)大學(xué)碩士學(xué)位論文論哈羅德品特戲劇中權(quán)力爭(zhēng)奪的構(gòu)建品特早期四部劇作的話語(yǔ)分析姓名：王先先申請(qǐng)學(xué)位級(jí)別：碩士專業(yè)：英語(yǔ)語(yǔ)言文學(xué)指導(dǎo)教師：孫冬20110107IABSTRACTHaroldPinterhasbeengenerallyconsideredasthefemostrepresentativeofBritishdramainthesecondhalfofthetwentiethcentury.Hisnamehasentered

2、theEnglishlanguageasanadjectivetodescribeaparticularatmosphereenvironmentindrama:Pinteresque.InOctober2005PinterwasawardedtheNobelPrizeinLiteraturefhisremarkablepresentationofhumanpredicamentinmodernsociety.Thepresentthe

3、sisintendstoexaminethepowerrelationsasreflectedintheacter’sdialoguebodygesturesthespatialityofthestageinHaroldPinter’searlyfourplays—TheRoomTheBirthdayPartyTheDumbWaiterTheCaretakerbasedonMichelFoucault’stheyofpowerdisco

4、ursespacethebody.FocusingonthepowerrelationsindiscoursespacethebodythisthesisexplesthegenderconfrontationthepoliticalconflictsintheseplayswhicharethemanifestationsofpowerjockeyingasstatedbyFoucault.Thisthesisiscomposedof

5、fiveparts.ThefirstpartcontainsabriefintroductiontoPinter’sartisticdevelopmentintermsofthematicconcernsdramatictechniquesageneralreviewofPintercriticisminrecentyears.ChapterOnelaysbarethetheeticalfoundationthatthisthesisi

6、sbuiltupon—Foucault’stheyofpower.InFoucault’sphilosophypowerisexercisedinvariousaspectsoftheculturalsociallifesuchasdiscoursespacethebody.Discourseisafmofpowerthatcanbefoundineveryaspectofthesociety.Itisexercisedthrought

7、hestrategiesofdominationthoseofresistance.LikediscoursespaceisalsoconsideredbyFoucaultasasitefpowerstruggles.Heputfwardthenotionsof“heterotopias”“panopticon”astheparameterstoexaminethesocialconstructionsinscribedingeogra

8、physpace.FinallyFoucault’stheyisconcernedwithhowpowerisembodiedinhumanbodywhichbearsthedisciplinespunishmentasstipulatedbylawsconventions.InPinter’searlyplaysalltheconflictsevolvearoundthewilltopowerasalltheactersaretrap