Problems of Rewriting and Appropriating Classics From the Time of Marlowe to that of Samuel Beckett

本<th>课题的研究者以20^世纪某些戏剧家对经典文本的影射或挪用为类比，对从马洛到贝克特这一时期英国戏剧舞台上对经典文本的接受情况进行了研究。宗教改革后的情况可以比作19世纪末和20世纪所谓的后基督教情况<th><th>。尽管马洛、基德和莎士比亚都是在塞内卡传统的影响下为新成立的流行戏剧创作新的悲剧风格，但他们对自己作为文艺复兴时期古典文本模仿者的时代错误的立场有着不同的看法，他们处理这些问题的方式揭示了他们的情感之间非常微妙但重要的差异。两个经典传统的Senecanism和Ovidianism融合在一起，成为莎士比亚复杂的戏剧诗，这似乎是非常有效的代表一些后宗教改革的问题，如社会，家庭和母亲的角色。

By using the analogy of certain 20^<th> century dramatists' way of alluding to or appropriating classical texts, the investigator of this project has done research on the reception of classics on the English stage from the time of Christopher Marlowe to that of Samuel Beckett. The post-Reformation situation can be likened to what is called the post-Christian situation of the late 19^<th> and the 20^<th> centuries. Although they were commonly working under the influence of Senecan tradition to create new styles of tragedy for the newly established popular theater, Marlowe, Kyd and Shakespeare had different ideas about their anachronistic positions as Renaissance imitators of classical texts, and the ways they coped with these problems revealed very subtle but significant differences among their sensibilities. Two classical traditions of Senecanism and Ovidianism were fused together into sophisticated dramatic poetry by Shakespeare, which seems to have been very effective in representing some post-Reformation sensibilities about the questions like society, family, and maternal roles.