本文關(guān)鍵詞：論弗萊的文學(xué)批評(píng)　出處：《新疆大學(xué)》2003年碩士論文　論文類(lèi)型：學(xué)位論文

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【摘要】： 諾思洛普·弗萊是20世紀(jì)享有國(guó)際聲譽(yù)的文學(xué)批評(píng)家，原型批評(píng)理論的集大成者，一位有著自己獨(dú)特風(fēng)格的批評(píng)家。他的理論在西方文論界獨(dú)成體系，其思想不斷被東西方學(xué)者和理論批評(píng)家引用和討論，為文藝科學(xué)作出了無(wú)以倫比的貢獻(xiàn)。 弗萊認(rèn)為，文學(xué)的本質(zhì)是神話，神話是文學(xué)的結(jié)構(gòu)原則和原型模式。文學(xué)的發(fā)展就是形式的發(fā)展，是幾種固定的模式和結(jié)構(gòu)做周而復(fù)始的循環(huán)運(yùn)行。這使文學(xué)成為一個(gè)自足自律的有機(jī)整體，作品與作品之間都存在著聯(lián)系，對(duì)于任何一首詩(shī)，都必須作為一個(gè)整體來(lái)考察。 弗萊的文學(xué)觀決定了他的文學(xué)批評(píng)觀。他認(rèn)為文學(xué)批評(píng)是一門(mén)獨(dú)立的科學(xué)，既不能把批評(píng)看作文學(xué)的分支或附庸，也不能把批評(píng)與其它學(xué)科混同；批評(píng)要依照從得自對(duì)文學(xué)領(lǐng)域的歸納性考察的概念框架來(lái)研究文學(xué)。批評(píng)應(yīng)該既系統(tǒng)化又內(nèi)在化，將作品放在整個(gè)文學(xué)系統(tǒng)中加以考察，研究一部作品與其他作品之間的關(guān)系，，在文學(xué)內(nèi)部建立起一種歷史觀察方法。批評(píng)有兩種語(yǔ)境：內(nèi)部語(yǔ)境和外部語(yǔ)境，只有當(dāng)兩者達(dá)到平衡時(shí)，真正的批評(píng)才能產(chǎn)生。 弗萊的“形式”概念與我們通常理解并使用的批評(píng)術(shù)語(yǔ)“形式”指稱(chēng)不盡相同。他的“形式”是包含內(nèi)容的形式，既是內(nèi)容，又是形式，實(shí)質(zhì)是二者的渾然一體。弗萊獨(dú)特的形式概念是由于“原型”本身的特性所致。弗萊提出兩個(gè)重要概念：關(guān)懷的神話與自由的神話，這兩種神話的結(jié)合產(chǎn)生出文學(xué)的社會(huì)語(yǔ)境，從而導(dǎo)致他所主張的社會(huì)批評(píng)。批評(píng)貫通在二者之間，形成緩沖，使關(guān)懷和自由達(dá)到平衡。這使他的批評(píng)具備了濃厚的文化批判和社會(huì)批判的品性。 弗萊的批評(píng)思想最具影響力的是原型批評(píng)的方法和理論。他把弗雷澤人類(lèi)學(xué)和榮格心理學(xué)領(lǐng)域的原型概念移至文學(xué)領(lǐng)域，認(rèn)為原型就 是作品中重復(fù)出現(xiàn)的意象和象征。尋求原型的方法是“向后站”，即用 宏觀的方法發(fā)現(xiàn)作品與作品、與傳統(tǒng)之間的原型結(jié)構(gòu)和聯(lián)系，從而在 宏觀上把握文學(xué)類(lèi)型的共性及其演變。弗萊從西方文學(xué)作品中歸納出 五種模式和三種意象世界，認(rèn)為它們不斷置換更替、循環(huán)往復(fù)，作為 原型存在于文學(xué)的發(fā)展中。 弗萊理論的最顯著特色是他的宏觀視野和跨越性思維。他把文學(xué) 視為一個(gè)整體，批評(píng)的目標(biāo)就是建構(gòu)一套適用于整個(gè)文學(xué)的批評(píng)理論。 他始終將文學(xué)納入廣闊的文化領(lǐng)域框架l－11思考，使他的批評(píng)理論同時(shí) 又具有文化研究的特性。弗萊理論中的跨越性思維體現(xiàn)在多方面，不 僅跨越了各批評(píng)流派的界限，還打破學(xué)科界限進(jìn)行跨學(xué)科研究，他的 原型批評(píng)就是用人類(lèi)學(xué)視野和近代心理學(xué)研究的某些成果研究文學(xué)的 跨學(xué)科范例。 弗萊的批評(píng)理論有著缺失和恃論之處。他忽視了文學(xué)與社會(huì)生活 的互動(dòng)關(guān)系，也忽略了文學(xué)特有的審美屬性以及作家的創(chuàng)造性和義本 的豐富性。他的理論主張與批評(píng)實(shí)踐又形成種種悻論，悸論也使他的 理論具有張力和多重編碼性，吸引了不斷增多的闡釋者。
[Abstract]:North Lope Fry is a literary critic in twentieth Century enjoy international reputation, epitomize the theory of archetypal criticism, a critic of his own style. His theory on a single system in western literary circles, the idea of being the eastern and Western scholars and critics of the theory reference and discussion, made a unique contribution to the literature of science.
He believes that the essence of literature is a myth, the myth is the structure principle and prototype model of literature development. The development of literature is the form, mode and structure of several fixed cycle operation cycle. This makes the literature become a self-sustaining organic whole, between the works and the works are linked to any poem must be studied as a whole.
Frye's literary view determines his view of literary criticism. He believes that literary criticism is an independent science, neither the criticism of literature branch or vassal, also can't take criticism and other subject confusion; according to the study of literature criticism from literature inductive research conceptual framework from. Criticism should be both systematic and internalization, will work on the whole literary system to study, to study the relationship between the works and other works, establish a historical observation method in the literature. The internal criticism has two kinds of context: the internal context and external context, only when the two sides are balanced, the real criticism in order to produce.
Frye's "form" concept and we usually understand and use the term "form" reference criticism is not the same. His "form" is included in the form of content, both the content and form, essence is the two. Frye's unique form of all blend into one harmonious whole concept is due to the characteristics caused by the prototype "Frye itself. Two important concepts: concern myth and the myth of freedom, a combination of these two myths produce literary and social context, which leads to social criticism. He advocated the criticism through the buffer formed in between the two, so, care and free balance. This makes his criticism with a strong cultural and social criticism criticism of the character.
The most influential way of Frye's critical thinking is the method and theory of archetypal criticism. He shifted the archetype of Fraser's Anthropology and Carl Jung's psychology to the field of literature.
It is a repetition of images and symbols in a work. The way to seek a prototype is to "stand back", that is, to use it.
The macro method finds the prototype structure and connection between the works and the works and the tradition.
The generality and evolution of the literary genre are grasped at the macro level. Frye summed up the western literary works
The five patterns and the three images of the world believe that they are constantly replaced and repeated, as a way of repetition.
Archetype exists in the development of literature.
The most striking feature of Frye's theory is his macro vision and leapfrog thinking.
As a whole, the goal of criticism is to construct a set of critical theories applicable to the whole literature.
He always put the literature into the field of culture L11 broad thinking framework, the theory of his criticism at the same time
It also has the characteristics of cultural research. The leapfrog thinking in Frye's theory is embodied in many aspects.
It only leans across the boundaries of the criticisms and breaks the boundaries of disciplines to carry out interdisciplinary studies.
Archetypal criticism is the study of literature with some of the achievements of the anthropological field of vision and modern psychology.
An interdisciplinary paradigm.
Frye's critical theory is missing and relies on the place. He ignored the theory of literature and social life
The interactive relationship also ignores the unique aesthetic attributes of literature and the creative and semantic books of the writers.
The rich. His theory and criticism practice and form kinds of paradox, paradox also make his
Theory has tension and multiple coding, which attracts an increasing number of interpreters.

【學(xué)位授予單位】：新疆大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類(lèi)號(hào)】：I06

【共引文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前10條

1 張婷婷;尋找精神的救贖—梯姆·奧布萊恩的《他們攜帶的物品》的原型解讀[D];遼寧師范大學(xué);2010年

2 田靜;《小鎮(zhèn)畸人》與《圣經(jīng)》[D];天津理工大學(xué);2009年

3 張喬;新時(shí)期小說(shuō)“地母”原型論[D];華中師范大學(xué);2011年

4 張芳麗;論帕·懷特小說(shuō)《人樹(shù)》的寓言性和象征意義[D];蘭州大學(xué);2011年

5 王琦;《天路歷程》與《西游記》的宗教元素比較研究[D];大連外國(guó)語(yǔ)學(xué)院;2011年

6 熊煥穎;E.J.普拉特抒情詩(shī)研究[D];廣西民族大學(xué);2011年

7 李孝德;利瑪竇筆下的中國(guó)形象[D];山東大學(xué);2011年

8 丁蓀;原型批評(píng)在中國(guó)的實(shí)踐與發(fā)展研究[D];四川社會(huì)科學(xué)院;2010年

9 袁雪蓮;電視災(zāi)難報(bào)道中的原型認(rèn)知與實(shí)現(xiàn)模式研究[D];華中科技大學(xué);2009年

10 朱煜宇;博物館展覽與藝術(shù)社會(huì)互動(dòng)作用研究[D];上海大學(xué);2011年

本文編號(hào)：1405122