【作者】 杨挺；

【导师】 饶芃子；

【作者基本信息】 暨南大学 ， 比较文艺学， 2007， 博士

【摘要】 本文在国内外奥尼尔研究的基础上，运用比较美学、比较诗学、跨学科研究的方法，探讨奥尼尔表现主义戏剧观的特质，表现主义戏剧观产生的基础和根源。本文将研究范围由目前国内学界常见的对奥尼尔某个文本的剖析和对奥尼尔研究中的某个问题的探讨扩大剑对奥尼尔整个表现主义戏剧和戏剧观的全面解读，试图立足于具体的作品分析，但又超越具体的作品分析，而上升到美学和哲学分析的高度，从而为国内奥尼尔研究、表现主义戏剧研究注入新的活力。全文主体由五部分构成。第一章分析了影响和制约奥尼尔戏剧观形成的主要因素，主要是政治倾向、宗教信仰、教育背景、个人特殊的生活经历与生活方式，对其他重要因素的分析散见于其他章节。第二章奥尼尔表现主义戏剧观与表现主义戏剧运动的契合，探讨奥尼尔与德国表现主义在美学和戏剧观方面的契合，并辨析德国表现主义是否对奥尼尔产生过影响。第三章奥尼尔表现主义戏剧观形成的文学根源，主要探讨斯特林堡、易卜生和契诃夫对奥尼尔的影响。第四章奥尼尔表现主义戏剧观形成的思想根源，主要探讨尼采、弗洛伊德主义、叔本华对奥尼尔的影响。第五章奥尼尔表现主义戏剧观形成的社会根源，主要探讨奥尼尔所处的时代、社会历史文化背景对他的影响。更多还原

【Abstract】 Based on the research of Eugene O’Neill both at home and abroad, the dissertation tries to discuss the characteristics of Eugene O’Neill’s expressionist conception of drama and analyze its foundation and origin in terms of comparative aesthetics, comparative poetics and the interdisciplinary methodology,The research is not confined to an intensive analysis of one certain text and a discussion of one aspect in the studies of Eugene O’Neill, which is common in the Chinese academic circle. Rather, it extends to the comprehensive interpretation of his entire expressionist drama and conception of drama, the dissertation bases on the analysis of his works and transcends it, upgrading the study to the aesthetical and philosophical analysis in the hope of bringing new idea to the domestic research of Eugene O’Neill and the study of expressionist drama.The dissertation consists of five parts. The first chapter, "the main factors influencing and restricting the formation of Eugene O’Neill’s conception of drama", mainly discusses the political inclination, religious belief, education background, personal life experience and lifestyle of Eugene O’Neill. The other important factors are discussed in other chapters.The second chapter, "The correspondence of expressionist conception of drama in Eugene O’Neill and the movement of expressionist drama", explores the agreement of O’Neill and the German expressionism in the conception of drama and aesthetics and investigates whether O’Neill was influenced by Expressionist drama.The third chapter, "the origin of O’Neill’s dramatic view of expressionism", probes into the influence on O’Neill from August Strindberg, Henrik Ibsen and Anton Chekhov.The fourth chapter, "the mental source of O’Neill’s expressionist conception of drama", discusses the influence on O’Neill from Friedrich Nietzsche, Freudianism and Arthur Schopenhauer.The fifth chapter, "the social origin of the formation of O’Neill’s expressionist conception of drama", analyzes the influence of his time, social, historical and cultural background on O’Neill.更多还原