本文選題：托尼·莫里森 + 諾斯諾普·弗萊�。� 參考：《云南大學(xué)》2012年碩士論文

【摘要】：作為托尼·莫里森的第二部小說,《秀拉》已吸引了眾多學(xué)者,他們也對《秀拉》做了很多非常有價值的研究探索。作為一名黑人女性,秀拉的自我身份追尋是該小說最重要的主題之一,也是眾多研究中的熱點(diǎn)話題之一。托尼·莫里森作為一名黑人女作家,自小便受各種神話的熏陶,她的許多作品,諸如《奶娃》和《所羅門之歌》均因其多彩的神話元素聞名。盡管《秀拉》不像這兩本那么明顯,其中的神話元素也不容忽視。 黑人女性自我身份追尋、兩名黑人女性之間的友誼、母女關(guān)系以及對善惡的反思都是該書的熱點(diǎn)話題。談及《秀拉》中的神話元素,許多學(xué)者皆認(rèn)為該書從原型意向、人物、情節(jié)以及主題上都富含神話色彩。因此,本文從該書中所示的原型人物著手,旨在揭示小說女主人公追尋自我身份失敗的原因。本文認(rèn)為在種族歧視和性別歧視的雙重壓力下的自我身份追尋注定是失敗的,而她自身對黑人社區(qū)責(zé)任感的卻是也是其失敗的重要原因。 諾斯諾普·弗萊可謂原型批評的先驅(qū)者,他所著的《批評的剖析》記敘了他有關(guān)原型批評的主要觀點(diǎn)。他先提出文學(xué)在實踐和理論上的傳統(tǒng)著重點(diǎn)“一直是放在表征或酷似生活上”’,這意味著文學(xué)作品須與現(xiàn)實生活有些許共同之處,不管該作品是和讀者同時代還是跟作者是同時代。弗萊提出“移用”這一文學(xué)名詞。根據(jù)弗萊的解釋,移用是文學(xué)創(chuàng)作的一種手法,它將神話或者神話的結(jié)構(gòu)置于現(xiàn)實主義的小說中�？紤]到人們對文學(xué)形式的常規(guī)解讀,移用使得文學(xué)作品更為可行和具有說服力。作家,尤其是現(xiàn)實主義作家都應(yīng)當(dāng)“按照凡人的意向‘移用’神話”。2本文以弗萊的原型批評理論為依據(jù),分析《秀拉》中的三個典型的原型人物移用,揭示秀拉追尋自我身份失敗的內(nèi)外因。本文認(rèn)為,秀拉自我身份追尋是一種失敗,其原因可以從對文中三個典型原型人物的移用的分析中得出。秀拉作為撒旦原型的移用,其撒旦似性格特征導(dǎo)致其與黑人社區(qū)脫離,而通過秀拉作為撒旦原型移用和男性的撒旦似的行為的對比,本文又得出秀拉失敗的另一個原因,即性別歧視。夏娃·匹斯是上帝和大母神這兩個神話原型的移用。對該原型移用的分析可得出秀拉失敗是由于性別歧視和種族歧視造成的。夏德拉克是酒神狄奧尼索斯的移用,他同時也和秀拉有一些共同之處。他們都具有反叛精神和對自由的向往,但是卻得到了黑人社區(qū)迥然不同的對待,并且兩者的生命歷程也因此不同。夏德拉克不僅從戰(zhàn)爭中存活,而且在后來的隧道坍塌事故中存活,這次存活也暗含了夏德拉克在自我身份追尋中的存活。然而,秀拉的自我追尋之路卻以死亡而終。其死亡也宣告了她自我追尋的失敗。 莫里森在該書中描寫了三個典型的原型人物。秀拉代表了黑人追求平等自我和自由的意愿；夏娃既反映了黑人婦女傳統(tǒng)的一面又反映了其非傳統(tǒng)的一面；夏德拉克則代表了黑人社區(qū)的主流：黑人男性。通過這三個人物塑造,莫里森表達(dá)了自己對黑人及其生活的社區(qū)的深思。她贊揚(yáng)秀拉敢于為平等自我的追尋,并希望借此喚起黑人社區(qū)的共鳴。然而她同時也想提醒黑人們自由和平等固然重要,但是遵循黑人社區(qū)的傳統(tǒng)同樣必不可少。
[Abstract]:As the second novel of Tony Morrison, Sula has attracted many scholars, and they have also made a lot of very valuable research and exploration of Sula. As a black woman, the pursuit of self identity of Sula is one of the most important themes of the novel and one of the hot topics in many studies. Tony Morrison is one of the most popular topics. Black women writers have been nurtured by myths in their urine. Many of her works, such as "milk baby" and "the song of Solomon", are all famous for their colorful mythological elements. Although "Sula" is not as obvious as these two, the mythological elements can not be ignored.
The self identity of the black women, the friendship between the two black women, the mother daughter relationship and the reflection on the good and the evil are all the hot topics of the book. The aim of this article is to reveal the reasons for the failure of the heroine in pursuit of self identity. This article holds that the pursuit of self identity under the double pressure of racism and sexism is doomed to failure, but her own sense of responsibility for the black community is also an important reason for her failure.
Northrop Fry is the pioneer of archetypal criticism, his critique of the analysis of the main points of his archetypal criticism. He first proposed that the traditional emphasis on literature in practice and theory "is always placed in representation or like life", which means that literary works must have something in common with real life, The work is in the same age as the reader, or the same time as the author. Frye put forward a literary term for "transfer". According to Frye's interpretation, it is a means of literary creation, which puts the structure of mythology or mythology in a realistic novel. It is more feasible and persuasive. The writer, especially the realistic writer, should "transfer the mythology" in accordance with the intention of the mortal..2, based on Frye's archetypal criticism, analyzes the three typical archetypal characters in Sula and reveals the internal and external causes of the failure of the self. The search is a failure, which can be derived from the analysis of the transfer of three typical archetypal characters in the text. Sula was used as a Satan archetype and its Satan character led to its disengagement from the black community, and the failure of Sula to be a comparison of the disappearance of Satan like Satan and the male's Satan like behavior by Sula. Another reason, sex discrimination. Eve is the transfer of the two mythological archetype of God and the Great Mother God. The analysis of the migration of the archetype can be caused by sex discrimination and racial discrimination. Chandra J is the transfer of the Dionysian Dio Nirsos, and he has some common ground with Sula. They both have A rebellious spirit and a yearning for freedom, but a very different treatment of the black community, and the life course of the two is different. The path of self search ended with death. Her death also declared her failure to pursue herself.
Morrison describes three typical archetypal characters in the book. Sula represents the desire of black people to pursue equal self and freedom; Eve reflects both the traditional side of the black woman and its non traditional side; Chandra J represents the mainstream of the black community: black men. Through these three characters, Morrison She expressed his reflection on the black community and the community she lived in. She praised Sula for the pursuit of equal self and wanted to arouse the resonance of the black community. However, she also wanted to remind the black people that freedom and equality were important, but it was also necessary to follow the traditions of the black community.
【學(xué)位授予單位】：云南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：I712.074

【參考文獻(xiàn)】

相關(guān)期刊論文 前8條

1 杜志卿,張燕;《秀拉》:一種神話原型的解讀[J];當(dāng)代外國文學(xué);2004年02期

2 張洪偉,蔡青;《秀拉》中的大母神原型解讀[J];國際關(guān)系學(xué)院學(xué)報;2005年02期

3 梁工;;圣經(jīng)文學(xué)研究在弗萊批評體系中的位置[J];外國文學(xué);2010年02期

4 林緒肅;;秀拉和夏德拉克之對比分析[J];湖北民族學(xué)院學(xué)報(哲學(xué)社會科學(xué)版);2007年04期

5 馮英;;夏德拉克的酒神原型初探[J];科技信息;2009年27期

6 徐穎;;托尼·莫里森作品中的“替罪羊”原型研究——譯論與實踐的關(guān)系簡論[J];天津外國語學(xué)院學(xué)報;2007年02期

7 周小平;“我早該想到那些鳥意味著什么了”——讀托妮·莫瑞森的《秀拉》[J];外國文學(xué)研究;1998年02期

8 劉慧君;寧文斌;;《秀拉》中夏德拉克的圣經(jīng)原型初探[J];作家;2008年10期

相關(guān)碩士學(xué)位論文 前1條

1 賀家樂;托妮·莫里森《秀拉》的原型闡釋[D];湖南師范大學(xué);2006年

，

本文編號：2044523