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哈罗德·品特在中国语境下的接受和批评研究始于1978年。品特作品的汉译则构成了具有中国特色的品特研究体系中不可或缺的组成部分,成为中国的品特研究之基础。品特作为“荒诞派戏剧在英国的代表作家”的定位曾对中国的品特研究产生过重要影响。30多年来,特别是2005年之后,从对作家评介、作品解读、作品汉译、作品上演等各方面,国内学者表现出更加良好、积极的接受态势,批评视角和研究方法也逐渐呈现出多元化的趋势。但是,国内的品特研究仍然存在着诸如研究内容的深入不够、作品研究的过度集中、对其后期作品研究偏弱、批评方法缺乏创新等一些值得重视的问题。
Harold Pinter’s acceptance and criticism in Chinese context began in 1978. The Chinese translation of Pintereas constitutes an indispensable part of Pintere’s research system with Chinese characteristics and becomes the foundation of Pintere’s research in China. Pinter’s position as the “representative writer of the absurd theater in the United Kingdom” had had a significant impact on the study of China’s Pinot. For more than 30 years, especially after 2005, domestic scholars showed a more favorable and positive reception from the perspectives of the evaluation of writers, the interpretation of works, the translation of works, the performance of works, and so on. Criticism perspectives and research methods have also gradually become more diverse The trend of change. However, there are still some problems worth noting, such as inadequate research content, excessive concentration of works, weak research on the later works, and lack of innovation in criticism.