本文選題：20世紀(jì)　切入點(diǎn)：中西　出處：《蘭州大學(xué)》2007年碩士論文　論文類型：學(xué)位論文

【摘要】： 自我是一個古老的話題，在哲學(xué)和心理學(xué)中，自我問題是一個有關(guān)人的核心問題。文學(xué)是人學(xué)也是心學(xué)，它滲透了作者的藝術(shù)追求和自我意識。而作品中主人公的內(nèi)心世界即自我意識，文學(xué)研究則需要借鑒哲學(xué)和心理學(xué)對自我的相關(guān)論述，以致于讓我們更加透澈地分析那種自我。 人有兩種基本精神，即人文精神和科學(xué)精神，文學(xué)創(chuàng)作趨向于人文精神而文學(xué)批評趨向于科學(xué)精神。文學(xué)批評的科學(xué)精神一定是以一種或某種理論為支撐點(diǎn)的，但是批評也需要“批評的自覺”——一種既承認(rèn)理論的有效性也承認(rèn)理論的有限性的自覺，這種自覺也反映著一個批評家或讀者的自我意識。 在20世紀(jì)中國現(xiàn)代小說和西方現(xiàn)代主義經(jīng)典小說中，主人公的自我意識發(fā)生了根本的改變，他們成了自己內(nèi)心世界的流浪兒，也有時(shí)達(dá)到了一個“終極悖論”的存在境況。由此，他們的生存境遇也就走向了社會的邊緣，變成了一個個狂人、陌生人、局外人甚至廢人。自我有“文化自我觀”和“個體自我觀”的不同，相比較而言，中國現(xiàn)代小說中主人公的自我意識更傾向于從國家、社會、民族中來認(rèn)識個體；而西方現(xiàn)代主義小說中主人公的自我意識更傾向于從個體出發(fā)來認(rèn)識他人和社會。阿Q和K(卡夫卡《城堡》)的自我就是這兩種自我意識的典型代表。自我意識的不同與中西文化語境有關(guān)，但在某種意義上說，這兩種自我意識之間的差別并不像想象中地那樣大。 經(jīng)典以及經(jīng)典化是任何一個時(shí)代都存在的問題，一部作品的經(jīng)典化過程也不僅是文學(xué)的事，即可能是把經(jīng)典的審美放在一個次要地位，而更多地和歷史、社會、政治有著密切的關(guān)系。經(jīng)典不一定和我們的當(dāng)下關(guān)懷直接相關(guān)，經(jīng)典歡迎人們對它的不同解讀，但也要尊重它本身的內(nèi)在邏輯。經(jīng)典和通俗之間沒有不可逾越的鴻溝。 比較文學(xué)是一門在危機(jī)聲中發(fā)展的學(xué)科，比較文學(xué)研究如果不能發(fā)現(xiàn)民族文學(xué)或國別文學(xué)研究中發(fā)現(xiàn)不了的問題，那它確實(shí)就沒有存在的必要。比較文學(xué)“中國學(xué)派”以跨文化研究為其顯著特征，但是，比較文學(xué)現(xiàn)在需要也能夠從民族文學(xué)中找到自己的立足點(diǎn)，從而形成“世界性研究”。比較文學(xué)的“世界性研究”不企盼世界走向“大同文學(xué)”，它只渴望搭建一個對雙方都有意義的文學(xué)對話舞臺。自我的不同表現(xiàn)方式就是這個舞臺上的演員，即比較文學(xué)說到底是試圖展現(xiàn)出不同民族文學(xué)中的不同自我。 本論文以人本主義批評為視角，以比較文學(xué)的主題學(xué)理論為基點(diǎn)，，以20世紀(jì)中西若干部經(jīng)典小說為基本參照系，試圖展現(xiàn)在一個急遽變化的時(shí)代中，自我在文學(xué)藝術(shù)世界里所呈現(xiàn)出的不同方式。
[Abstract]:Self is an ancient topic. In philosophy and psychology, the question of self is a core question about human beings. Literature is both human and mental. It permeates the author's artistic pursuit and self-consciousness, while the inner world of the protagonist in his works is self-consciousness, and literary research needs to draw lessons from philosophical and psychological expositions on himself, so that we can analyze that kind of self more thoroughly. Human beings have two basic spirits, that is, humanistic spirit and scientific spirit. Literary creation tends to humanistic spirit and literary criticism tends to scientific spirit. The scientific spirit of literary criticism must be supported by one or some theory. But criticism also needs "critical consciousness"-a consciousness that acknowledges both the validity of the theory and the limitation of the theory, which also reflects the self-consciousness of a critic or a reader. In 20th century, in Chinese modern novels and Western modernist classical novels, the protagonists' self-consciousness changed radically, and they became the vagrants of their inner world. Sometimes the existence of an "ultimate paradox" has been reached. As a result, their living conditions have moved to the margins of society and become crazy people, strangers, There are differences between "cultural self-concept" and "individual self-concept". In comparison, the protagonist's self-consciousness in modern Chinese novels is more inclined to understand the individual from the state, society and nation. The self-consciousness of the protagonists in the western modernist novels is more inclined to understand others and society from the individual point of view. Ah Q and K (Kafka Castle) are the typical representatives of these two kinds of self-consciousness. The differences are related to the cultural context of China and the West. But in a sense, the difference between these two self-consciousness is not as great as thought. Classics and classicalization are the problems of any time, and the process of canonization of a work is not only a matter of literature, that is, the classical aesthetics may be put in a secondary position, and more with history, society, Politics has a close relationship. The classic is not necessarily directly related to our present care. It welcomes people's different interpretations of it, but also respects its own internal logic. There is no insurmountable gap between the classic and the popular. Comparative literature is a subject developed in the sound of crisis. If comparative literature studies cannot find the problems that can not be found in the study of national literature or national literature, There is no need for it to exist. The "Chinese School" of comparative literature is characterized by cross-cultural studies. However, comparative literature now needs and can find its own foothold in national literature. Thus, a "world study" is formed. The "world study" of comparative literature does not expect the world to go to "Datong Literature". It only desires to build a literary dialogue stage that is meaningful to both sides. The different expression of self is. The actors on the stage, That is to say, comparative literature is trying to show the different self in the literature of different nationalities. From the perspective of humanistic criticism, based on the thematic theory of comparative literature and the classical novels of Chinese and Western cadres in 20th century, this thesis tries to show itself in a rapidly changing era. The different ways in which self appears in the world of literature and art.
【學(xué)位授予單位】：蘭州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：I106.4;I0-03

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 田夢麗;試論西方現(xiàn)代派小說教學(xué)與中學(xué)生人文精神建構(gòu)[D];華中師范大學(xué);2012年

本文編號：1641927