頁籤選單縮合
題名 | After the Absence of Telos: on Samuel Beckett's Waiting for Godot and Endgame |
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作 者 | 蔡佳瑾; | 書刊名 | 東吳外語學報 |
卷期 | 12 1997.03[民86.03] |
頁次 | 頁99-112 |
分類號 | 873.55 |
關鍵詞 | Beckett, Samuel; |
語文 | 英文(English) |
中文摘要 | 薩姆爾.貝克特( Samuel Beckett )乃知名小說家與荒謬劇作家,其作品(無 論小說或劇本)往往呈現語言空洞不定和主體分崩離析等後現代論述所熱衷研討之課題,也 因此其小說被歸類為後現代作品。 本文以後結構主義對語言與主體性之看法來分析貝克特的兩部劇作:Waiting for Godot 及 Endgame,而不將之視為存在主義寓言。西方思想的形上傳統以目的論( teleology )為根 基,戴希達( Derrida )稱之為;「白色神話」。二次大戰之後,此目的論受到挑戰。 這 兩部作品的共同特色即在於二者均呈現:目的論動搖,終極目的消失之後,語言的超驗意指 ( transcendental signified )的存在遭到懷疑,一方面使得語言成為文字遊戲;另一方 面使得傳統上一向被視為意義的源頭與終點的主體,如今卻呈現分裂、其至瓦解的情況。 貝克特在這兩部劇作中顯示,當目的論不再是思想架構,甚至所謂的架構與中心僅為迷思時 ,語言不過是流竄的符碼,時間不過是反覆循環的過程,主體不是虛構的存在。 |
英文摘要 | Samuel Beckett's Waiting for Godot and Endgame, ascribed to the theatr e of the absurd, are characteristic of disclosing the absurdity of human existence. With only few charactsrs and simple stage design, his plays reveal the miserable spirtual condition of modern men and reexamine the essence of human existence in the world he lives. As Martin Esllin indicats, a drama always "reflects the cultural situation, the thought of its time." In these two plays, Beckett represents the modernist aura of disbelief and anxiety caused mainly by the World Wars. However, his plays are more than an existential allegory. What he presents on the stage is a "postmodern paradigme": the breakdown of subjectivity followed by the overturning of the concept of teleology, upon which Western metaphysics is based. The theories of two post-structuralists, Michel Founcault and Jacques Derria, enable us to explore and comprehend the "schizoid" condition of the dismatled subject resulting from the eradication of teleology. Since the subject, or Subject-God/Author, has also been considered the source of meaning /transcendetal meaning, or in terms of de Saussure, "transcendetal signified," the deconstruction of subjectivity also leads to the doubt of the validity of language. Beckett's plays present, as Esslin holds, the mental state of a modern man who "has lost the faith, religious or secular, of his predecssor" and who is " left to defend for himself, without intelligible purpose in a world devoid of meaning" ("Introduction" 2). This lost faith is in fact the belief in teleology, which is the base of Western thought. In Waiting for Godot, the telos, embodied by Godot, an never be achieved; therefore, the whole play has become a meaningless eternal process of waiting. In Endgame, the absence of telos is unfolded by the circular narration, which ironically suggests that the endgame is in fact a game without ending. |
本系統之摘要資訊系依該期刊論文摘要之資訊為主。