（英语语言文学专业论文）生态批评视角下莎士比亚的《暴风雨》.pdf

vi 摘 要 生态批评作为一种文学和文化批评理论，从深层生态学获得哲学基础，从社会生态 学获得科学支撑。在文学研究实践中以人与自然关系为主题，为解决生态危机提出了一 些见解。研读暴风雨 ，可以体悟到莎士比亚对人与自然关系的探索,更进一步地探析 了人类在破坏生态平衡的同时，也打破了原有的社会的关系，人类精神追求也发生了改 变，这些体现了作者对人与自然和谐相处的方式的思考。 论文用生态批评的方法对莎士比亚暴风雨进行赏析。论文由引言、正文和结论 三部分组成。引言部分包括:一、概述了文学批评对暴风雨的研究状况;二、介绍了 生态批评的出现，涵盖其历史渊源以及其与深层生态学(deep ecology)的哲学关联;三、 阐释了暴风雨与生态批评在理论与实践上的内在联系。正文第一章探析了岛上的生 态危机，以普洛斯彼罗为代表的人类利用所谓的超自然力在岛上的一系列行为；在最后 一节提出了解决生态问题的出路。第二章围绕不和谐的人际关系探讨了社会生态的因 素。通过介绍普洛斯彼罗对当地居民凯列班的教育和惩罚，对精灵爱丽儿的管理，霸权 统治的胜利，证实了殖民统治打破了原有的社会关系。第三章首先深层地探析了普洛斯 彼罗利用米兰达的婚姻作为筹码，以这对恋人的爱情为契机表现出对真爱的向往；尽管 这对恋人的婚姻不完美，但是它体现了普洛斯彼罗宽恕的心。最后一节分析了基督教与 人文主义的矛盾统一，反映了莎士比亚在暴风雨中的精神追求。 论文利用生态批评的方法阐释了三个领域- - - - 自然生态，社会生态，精神生态。论文 得出结论:在暴风雨中，莎士比亚已经阐释了一个不争的事实，即人类并不具备任何 所谓的超自然的力量，人类只是自然界中的一分子、一部分;天人合一是建立在相互尊重 各自内在价值的实现为前提的。人类破坏生态平衡，打破原有的社会关系后，人类的精 神世界也会付出了代价。 关键词: 生态批评 生态危机 社会生态 精神生态 深层生态学 iv abstract ecocriticism emerges in the field of literary criticism in the face of the environmental degradation and ecological crisis. as a tend of literary and cultural criticism, deep ecology is based on eco- criticism, aims to eliminate anthropocentric ideas and is supported by the social ecology. in this way, experts seek to resolve the ecological crisis in the field of literary research in practice. the tempest, customarily identified as one of the plays in shakespeare s last stage, explores the relationship between man and nature and further probes the destruction of the original social relationship when the ecological balance is broken. in the tempest, shakespeare tends to reflect the change that has been thought about the result of the upset balance and the human beings pursuit of harmonious relationship between man and man, between man and nature has been absent. the paper manages to analyze shakespeare s the tempest by the approach of ecoriticism. the introduction includes three parts. firstly, it presents a literature review on the tempest. secondly, it introduces the emergence of ecocritisim and traces its historical developments and philosophical foundation in deep ecology. finally, it states the affinity between the tempest and ecocriticism. chapter one discusses the ecological crisis on the island in the tempest. prospero, as a represent of human beings, carries out a series of actions to nature by exerting the supernatural power, such as deforestation and colonization, which leads to the ecological crisis. the last part of chapter one is devoted to the possible way out of the ecological crisis both in and out of the play. chapter two discusses the social ecological elements concerning the disharmonious relationship by presenting the facts that are prospero s education and punishment of caliban, management of ariel, and domination of the island in the hegemony. it concludes that prospero breaks the original social relations by the colonial control of the natives. chapter three probes the fact that prospero makes use of the marriage between his daughter and ferdinand, which reflects that prospero resolves the contradictions with a heart of forgiveness though the marriage is not perfect. however the v tempest yearns for true love, based on the love of miranda and ferdinand. in the final section of chapter three analyzes the contradiction between christianity and humanism, reflecting shakespeare s spiritual pursuit in “ the tempest” . the paper intends to analyze shakespeare s view of harmony from three aspects of ecocriticism: - - - natural ecology, social ecology and spiritual ecology. it concludes that in the tempest shakespeare has foretold us the truth that man is only an indispensable part of the nature, being depended and depending. the significance of approaching the tempest from the vision of ecocriticism lies in its instructiveness in re- interrogating man ecological crisis; social ecology; spiritual ecology; deep ecology; iii 学位论文原创性声明 本人所提交的学位论文“ 生态批评视角下莎士比亚的暴风雨 ” ，是在导师的指 导下，独立进行研究工作所取得的原创性成果。除文中已经注明引用的内容外，本论文 不包含任何其他个人或集体已经发表或撰写过的研究成果。对本文的研究做出重要贡献 的个人和集体，均已在文中标明。 本声明的法律后果由本人承担。 论文作者（签名） ： 指导教师确认（签名） ： 年 月 日 年 月 日 学位论文版权使用授权书 本学位论文作者完全了解河北师范大学有权保留并向国家有关部门或机构送交学 位论文的复印件和磁盘，允许论文被查阅和借阅。本人授权河北师范大学可以将学位论 文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或其它复制手段保 存、汇编学位论文。 （保密的学位论文在 年解密后适用本授权书） 论文作者（签名） ： 指导教师（签名） ： 年 月 日 年 月 日 1 introduction a. literature review on the tempest the tempest is regarded as one of the plays in shakespeare s last stage, which has complex background of performances, allusions, adaptations and critical interpretations. the tempest is seemly able to frustrate attempts to limit its influences to any specific theatrical woks or context. initially published as the inaugural work in the first folio of 1623, the tempest becomes a subversive and permanent monument. “ whether it was placed first by its editors or its publishers, and whatever their reasons,” writes stephen orgel, “ the decision has profoundly affected the play s critical history.” 1 during the 19th century, litterateurs including writers, critics, actors, and directors mainly and obviously repeats the uses of the tempest developed from the 18th century. as the same time, they also seek to find the methods to combine the play with the new century s changing conditions and its emerging attitudes toward reason, feeling, knowledge, description, inquiry, classification and human nature. in this period, critical and theatrical use of the tempest changes with almost every great development. by the end of 19th century, the discussions of the tempest are dominated by the rhetoric of totality and purpose. in shakespeare and the english romantic imagination, jonathan bate provides enough evidences that the tempest is core of the creative imagination in early 19th century. bate views that blake, wordsworth, coleridge, keats, shelley, and byron refers to the play in their poems and correspondence, frequently measuring or valuing themselves by means of shakespeare s achievement while evaluating their works in terms of prospero s magic, ariel s servitude and liberty, and caliban s slave and intractability. according to william hazlitt, there is a mysterious force that determines the relationships among the background, the characters and the subject of the play. prospero, miranda, ferdinand, ariel, and caliban, and “ the drunken ship s crew,” are all imaginary characters who can hardly fill any place, which is the evidence that shakespeare has the determining force to give the “ absolute command” over his audience. whether shakespeare s 2 fanciful invention is terrible or playful, all present the same insight into the world of the imagination and presides the same truth of character and nature, and the same spirit of humanity. due to bate, coleridge and hazlitt s, the tempest is produced rhetorical patterns, images, figures and propositions building the mode of expression in literary criticism. at this point, it is the critical basis for the writing of the 20th century from the editorial comment, the periodical essay, and the aesthetic lecture toward the critical and scholarly monograph. during 20th century, the criticism of the tempest develops quickly. hayden white s essay in literary criticism anything goes seriously qualifies on claim that the criticism of the tempest features more diversities. a lot of readers may agree with orgel: “ the tempest is a text that looks different in different contexts, and it has been used to support radically differing claims about shakespeare s allegiances” . 2 according to david young s the heart s forest published in 1972, he concluded that almost every element in shakespeare s the tempest had relations with “ the characteristics and concerns of the pastoral.” different from young s pastoral preoccupation, kim hall analyzed the tempest from a historical perspective. she then argued that the various representations of “ commerce and intercourse” in the play “ draw attention to the increased fluidity” of the classifications of race, class and gender and “ question the future of dynastic alliance and succession in an atlantic economy” . 3 in the middle to late1970s, the tempest criticism experiences a major change in the generalized mode eventually leading to a mixture of poststructuralist and materialist reading. the change is significantly driven by political forces, summarized by rob nixon. the great changes have taken place in the international political situation from the year 1957 to the year 1973. african and the larger caribbean colonies win their independence, some countries such as cuban, algerian, kenyan revolt, and the same period witnesses, equally important for the atmosphere of militant defiance, the civil rights movement in the united states, the student revolts in 1968, and the humbling of the united states during the vietnam war. as rob nixon indicates that the passages from the play has gained little attention and reassigned to the standard selections about visions. gradually, the criticism of the tempest s involvement with the expansion of colonial 3 domination, with the persistence of racism, and with patriarchal systems of exchange becomes clear. as for bruce erlich, he makes use of the play to demonstrate the marriage between ferdinand and miranda reconciling feudal legitimacy with capitalist striving. and he agrees with w. knight s colonialist view. however, in 1976, stephen greenblatt s essay “learning to curse: aspects of linguistic colonialism in the sixteenth century” , which signals a change in the tempest scholarship. since 1976, interpretation of the tempest has been preoccupied with several interrelated concerns having been shaped by the poststructuralist criticism of barthes, foucault, and derrida; by the materialist and cultural critiques of raymond williams and michel de certeau; by postcolonial discussions of edward said and homi bhabha; and by the new historicist interpretations of stephen greenblatt. for the last thirty years, interpretations towards the tempest have been busy in struggling for dominance that has paradoxically revealed the indebtedness of each position to the other. gradually, because every interpretation must make some implicit or explicit use of these elements, it has become clear that the struggle is not among history, formalism, and theory. hence, interactions among competing versions of history, competing understandings of textuality, and competing senses of theory lent itself to the disagreements about the tempest. at 21st century, shakespeare s world is changing greatly with the changing relationship between humanity and the environment. partly due to the developments in science and in the radical changes in the relationship between humanity and nature, ecocritical inquiry about shakespeare s play including the tempest seems to develop quickly. at the same time, a global environment crisis has been happening at the 21st century. under this new environmental situation, critics like gabriel egan and laurence coupe have made attempts to reread shakespeare from an ecocritical perspective. in green shakespeare: from ecoriticism, gabriel egan probes shakespeare s plays in order to meet our current concerns about global warming, pollution and nuclear disaster. and he provides us the clear clues about our ecological problems and analyzes shakespeare s play deeply. the book asserts that we are able to find in shakespeare s plays elizabethan modes of thinking regarding the relationship between man and nature, contributing to the awakening of ecological consciousness and to the 4 realization of a cultural shift in value and ethics. in shakespeare s the tempest, there is unbalancing relationship between man and nature. examined in the vision of ecocriticsim, prospero s supernatural power is the key reason for ecological crisis. “ nowadays, university of nevada in the united states becomes the center of teaching and studies for ecological literature. university of virginia, university of arizona, university of georgia, university of oregon, university of utah, and university of wisconsin are also very important places for ecocriticism studies, where ecocritical scholars from many countries gather.” 4 in china, chinese ecologists also establish environment and literature association branch and write some influential ecological books. “ for example, prof. lu shu- yuan s book, ecological research in literature and art, becomes a very important and influential book in this field. in jianghan university, a series of literature and art of ecology, chiefly edited by prof. zhang hao, are produced, including the following works: study on ecological thinking of chinese literature and art; factors of novel and ecology of literature and art; ecological wisdom and poetic skills of laotsu and zhuangtsu; perception of ecological consciousness in chinese literature.” 5 the paper seeks to approach natural, social and spiritual ecology elements in the play from the vision of ecocrticism, based on the above- mentioned critical legacies about the tempest, with the hope of seeking to access the richness of shakespeare and to accelerate the thought- provoking careers of ecocriticsm. b. the emergence of ecocriticism and the definition of ecocriticism in william rueckert s 1978 essay “literature and ecology: an experiment in ecocriticism” , the word “ ecocriticism” appears. then in 1989, at the “ literature and ecology: an experiment in ecocriticism” , cheryll glotfelty improves the term of “ ecorcriticism” 5 further. by the ideas of cheryll glotfelty, “ ecocritisim” refers to the study of the relationship between literature and physical environment. ecoriticism brings in a main shift from approaches that strictly privilege language to approaches that re- emphasize the practical effort of words, joy and despair. in another, the ecocritic, christopher cokinos argues that “ like feminism at its best, ecocriticism is fundamentally an ethical criticism and pedagogy, one that investigates and helps make possible the connections among self, society, nature and text” . 6 nowadays, the earth is now facing an unprecedented ecological crisis and the severe reality has led to the scholars concern. as a result, many subjects or disciplines of human beings like history, philosophy, sociology, and even religion, have been “ greening” since the 1970s. in the field of the literature, the scholars have realized the necessity and importance of the environment and begin to adjust the critical focus of their studies. this consciousness in the studies of the scholars results in the emergence of ecocriticism and brings great changes in literary studies. generally speaking, the theory about studying literature inspects the relations between authors, literary works, and the world. “ the world” usually refers to the society the social sphere. ecocriticism extends the concept including the entire ecosphere. this change shows the scholars effort to find a solution of the literature. scott slovic, one of the founders of asle and the editor of isle, explains clearly that there is not a single literary work anywhere that completely defies ecocritical interpretation, that is “ off limits” to green reading. such an attitude shows ecocritics confidence towards this field of thinking and manifests its vitality, potential and viability in literary criticism. it is necessary to give a brief introduction to ecocriticisim since it is a new school of thinking. in october, 1992, a special planning meeting of the western literature association (wla) was held for a new organization to give support to the study of “ natural writing” in reno, nevada. all the attending scholars and writers agree that it is immensely crucial to start a new organization to develop environment oriented work. in 1991 an mla special session was organized by harold fromm, of which the title is “ ecocriticism: the greening of literary studies,” and in 1992, glen love presided at american literature association symposium entitled “american nature writing: new contexts, new approaches.” according to cheryll burgess glotfelty, this organization was called asle (association for the study of literature and environment). by 1993, under the suggestion of cheryll glotfelty, ecological 6 literary study had come to emerge as a recognizable critical school. the theory of the ecocriticism does not emerge from the void, for social, economic, political and philosophic reasons. the leading important factor is the global environment crisis in our era. some people will feel horrible because of the deterioration of environment and the imaginable disasters: soil erosion, lead and asbestos poisoning, extinction of species at an unprecedented high rate, battles over public land use, protests over nuclear waste dumps, predictions of global warming and so on. whatever the large scope of inquiry and different levels of definition has, all ecological criticism shares the basic premise connecting human culture with the physical world, affecting it and affected by it. ecocriticism regards its subject as the interconnections both nature and culture, especially in the field of language and literature. as a critical point, ecocriticism has one foot in the field of literature; as a theoretical discourse, it has built up the negotiating relationship of negotiation between the human and the nonhuman. philosophical foundation of ecocriticism is deep ecology which was coined by norwegian philosopher arne naess in 1972. the major concern of deep ecology is to carry out a major paradigm shift- - - in perception, values, and lifestyles- - - as a basis for redirecting the ecologically destructive path of modern industrial growth societies. generally speaking, deep ecolog