本文選題：原型 + 原型批評(píng)��； 參考：《東北師范大學(xué)》2005年博士論文

【摘要】：原型批評(píng)是20世紀(jì)非常富有影響的文化批評(píng)流派。原型批評(píng)自20世紀(jì)二三十年代在西方產(chǎn)生以來(lái),無(wú)論對(duì)文學(xué)批評(píng)實(shí)踐還是對(duì)文學(xué)理論本體建設(shè)都做出了重要貢獻(xiàn)。20世紀(jì)八十年代以來(lái),國(guó)內(nèi)學(xué)術(shù)界原型理論和原型批評(píng)的研究也取得了巨大成就。但是,我們發(fā)現(xiàn),原型理論和原型批評(píng)的概念、定義、性質(zhì)、特征等方面還有很多問(wèn)題需要進(jìn)一步梳理和辨析。進(jìn)入20世紀(jì)90年代以來(lái),西方知識(shí)界對(duì)傳統(tǒng)的歐洲中心主義世界觀念的批判性反思不斷深入,跨學(xué)科的全方位文化研究也開始大規(guī)模展開,原型批評(píng)作為文化批評(píng)的特質(zhì)和價(jià)值卻尚未得到系統(tǒng)的總結(jié)和說(shuō)明。本論文的宗旨即是在后現(xiàn)代語(yǔ)境下對(duì)原型理論的本質(zhì)和價(jià)值給予重新認(rèn)識(shí),并以此為基礎(chǔ)推進(jìn)文學(xué)的文化批評(píng)理論的建構(gòu)。 本論文進(jìn)行研究的理論基礎(chǔ)是當(dāng)下正在形成的文化整合理論。在后現(xiàn)代語(yǔ)境下,強(qiáng)調(diào)文化差異性的主張開始出現(xiàn)并逐漸成為批評(píng)家和藝術(shù)家在多元時(shí)代立身行事的價(jià)值基礎(chǔ)�？聽杻�(nèi)·韋爾斯明確指出,“新的文化差異性策略的明顯特征在于用多樣性、多元性和異質(zhì)去取代一元和同質(zhì)。拒斥抽象、一般和普遍,而代之以具體、特殊和個(gè)別。通過(guò)強(qiáng)調(diào)偶然、暫時(shí)、無(wú)常、不確定性、轉(zhuǎn)換和變化而實(shí)現(xiàn)歷史化、情境化和多元化�！钡瑫r(shí),另外一些學(xué)者也已經(jīng)看到,對(duì)偶然、暫時(shí)、異質(zhì)和個(gè)別的過(guò)分推崇一旦走到極端,就難免把相對(duì)變成虛無(wú)。所以,今天的人們對(duì)二者的結(jié)合被給予了極大的關(guān)注。 本論文的出發(fā)點(diǎn)是從重新闡釋和理解“原型”、“原型批評(píng)”入手,在對(duì)這些基本的概念和范疇作出更為科學(xué)解釋以匡正以往認(rèn)識(shí)不足的同時(shí),揭示“原型批評(píng)”作為一種文化批評(píng)的內(nèi)在基因。本論文指出,理解“原型”,必須從以柏拉圖等為代表的哲學(xué)領(lǐng)域、以榮格為代表的分析心理學(xué)領(lǐng)域和以弗萊為代表的文學(xué)批評(píng)領(lǐng)域入手,打破一切批評(píng)的柵欄,尋找“原型”的哲學(xué)、心理學(xué)和文學(xué)意義上的綜合價(jià)值和共同特性。同時(shí),還要看到“原型”具備兩項(xiàng)基本特質(zhì),即無(wú)限共時(shí)性和恒久歷時(shí)性。在縱向的歷時(shí)性層面,“原型”向過(guò)去可以一直追溯到世界本原、人性本原、藝術(shù)本原這樣具有哲學(xué)抽象意義的終極始點(diǎn),向現(xiàn)在和未來(lái)延展,“原型”可以與任何一個(gè)業(yè)已存在或即將出現(xiàn)的具體事物相關(guān)。從橫向的共時(shí)性層面來(lái)說(shuō),“原型”可以跨越所有認(rèn)識(shí)領(lǐng)域、學(xué)科范疇、批評(píng)流派的樊籬,達(dá)成最廣泛的交融互滲和對(duì)話溝通。正因如此,“原型”本質(zhì)上成為榮格所強(qiáng)調(diào)的人類精神的家園,弗萊所強(qiáng)調(diào)的一切文學(xué)現(xiàn)象的最初程式,柏拉圖等哲學(xué)家所強(qiáng)調(diào)的世界本原,以及神學(xué)家所強(qiáng)調(diào)的人身上的上帝形象的綜合性概念。“原型”也由此成為人類文明和文化的基因,成為建構(gòu)文化批評(píng)的基石。 本論文的研究思路是在把原型以及原型批評(píng)置于后現(xiàn)代文化語(yǔ)境中進(jìn)行重新闡釋的同時(shí),對(duì)后現(xiàn)代語(yǔ)境下的文化特點(diǎn)進(jìn)行較為深入的梳理�？傮w來(lái)說(shuō),后現(xiàn)代文化強(qiáng)調(diào)分解與解構(gòu)。我們?cè)诒M可能準(zhǔn)確把握后現(xiàn)代文化基本特點(diǎn)的同時(shí),力圖揭示后現(xiàn)代文化
[Abstract]:Archetypal criticism is a very influential school of cultural criticism in the twentieth Century. Since its emergence in the West in 20s and 30s twentieth Century, archetypal criticism has made important contributions to both literary criticism practice and the construction of literary theory noumenon. Since the 80s of.20 century, the research of archetypal theory and archetypal criticism in domestic academia has also been obtained. However, we have found that there are many problems in the concept, definition, nature and characteristics of archetypal theory and archetypal criticism that need further combing and discrimination. Since the 1990s, the critical reflection of the traditional European centralism in the Western intellectual circles has been deepened, and the interdisciplinary and omni-directional cultural studies have been studied. The purpose of this paper is to reunderstand the essence and value of the prototype theory in the post modern context, and to promote the construction of the literary criticism theory of literature.
The theoretical basis of this study is the cultural integration theory that is now being formed. In the post-modern context, the claim to emphasize cultural differences begins to emerge and gradually becomes the value basis for the critics and artists to act in a pluralistic era. Colne Wells clearly points out that the "new cultural difference strategy" is obvious. It lies in the use of diversity, diversity and heterogeneity to replace one and homogeneity. Refusing abstract, general and universal, and replacing it with specific, special and individual. By emphasizing contingency, temporary, impermanence, uncertainty, transformation and change, it is historical, situational and pluralistic. But at the same time, some other scholars have seen, for chance, temporary, different. Once the extremes of quality and individual praise come to extremes, it is inevitable to turn relativity into nothingness. Therefore, today's people have been given great attention to the combination of the two.
The starting point of this paper is to reinterpret and understand "prototype" and "archetypal criticism", to make a more scientific explanation of these basic concepts and categories in order to rectify the shortcomings of the past, and to reveal the internal gene of "prototype criticism" as a cultural criticism. The field of philosophy, represented by La map, is based on the field of analytic psychology and literary criticism represented by Carl Jung, breaking the fence of all criticisms, looking for the "Archetype" philosophy, the comprehensive values and common characteristics in the sense of psychology and literature. At the same time, we also see that the "Archetype" has two basic characteristics, that is, the "Archetype". In the vertical diachronic level, the "Archetype" can be traced back to the original, the original nature of the human nature, the art original, and the ultimate beginning of the philosophical abstract meaning, which is extended to the present and the future, and the "Archetype" can be related to any specific thing that has existed or is about to appear. In the horizontal synchronic level, "Archetype" can cross all areas of cognition, discipline category, criticize the fence of the genre, and reach the most extensive blending and interpenetration and dialogue communication. For this reason, "Archetype" is essentially the home of Carl Jung's human spirit, the original formula of all literary phenomena which fry emphasizes, Platon and so on. The philosophy of the world, which the philosopher emphasizes, as well as the comprehensive concept of the image of God, emphasized by theologians. "Archetype" has become the gene of human civilization and culture, and has become the cornerstone of the construction of cultural criticism.
The research idea of this thesis is to reinterpret the archetype and archetypal criticism in the post-modern cultural context, and to make a more thorough study of the cultural characteristics in the post-modern context. In general, postmodern culture emphasizes the decomposition and deconstruction. We can grasp the basic characteristics of the post-modern culture as much as possible while we are as sure as possible. Map reveals postmodern culture
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2005
【分類號(hào)】：I06

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前6條

1 張慧U，

本文編號(hào)：1941550