本文關(guān)鍵詞：布洛赫小說(shuō)神話詩(shī)學(xué)研究　出處：《河南大學(xué)》2013年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 神話 自我 主體 邏各斯 審美 救贖

【摘要】：赫爾曼·布洛赫,一名處于現(xiàn)代主義晚期的美籍奧地利作家，身后被一些批評(píng)家譽(yù)為能與詹姆斯·喬伊斯，托馬斯·曼等現(xiàn)代主義巨擘相媲美的現(xiàn)代文學(xué)家。然而，由于歷史原因，他總體上淪為一個(gè)擁有很少讀者且在文學(xué)批評(píng)史上受到極度冷遇和遺忘的小說(shuō)家。布洛赫生前三部小說(shuō)《夢(mèng)游者》、《維吉爾之死》和《無(wú)罪者》堪稱其偉大思想藝術(shù)成就的代表，致力于描述“不再，尚未”的時(shí)代困境。他相信，相信一個(gè)舊的基督教神話已經(jīng)破滅，一個(gè)新的神話，一個(gè)統(tǒng)一世界圖景定會(huì)出現(xiàn)。神話因此成為布洛赫小說(shuō)創(chuàng)作的終極方向，而神話與象征理論則是其文學(xué)批評(píng)理論的核心內(nèi)容�；谝陨峡紤]，這篇博士學(xué)位論文在選定布洛赫小說(shuō)作為研究對(duì)象的基礎(chǔ)上，擬定了從神話主義批評(píng)和精神分析的雙重視野下展開(kāi)布洛赫神話詩(shī)學(xué)的論述。 本論文包括引言、正文六個(gè)章節(jié)和結(jié)論在內(nèi)的八個(gè)部分。本文主要采用的批判理論是弗洛伊德、榮格的精神分析理論和拉康的鏡像三段論以及弗萊的神話原型批評(píng)理論。 引言部分首先簡(jiǎn)要闡釋詩(shī)學(xué)與神話作品的定義。其次，對(duì)布洛赫的生平和創(chuàng)作進(jìn)行了歷時(shí)性綜述；按照發(fā)表的時(shí)間順序，依次對(duì)布洛赫三大作品的情節(jié)和主題進(jìn)行概述。為了更好的幫助研究者理解布洛赫文學(xué)創(chuàng)作的歷史定位，分別就布洛赫在英國(guó)，美國(guó)，日本，中國(guó)等國(guó)家的接受和研究狀態(tài)給予扼要的梳理和介紹；最后就論文的研究目的、意義和方法給以概括和介紹。 論文的第一章旨在概括二十世紀(jì)初精神分析的崛起和神話創(chuàng)作的復(fù)興。二者在二十世紀(jì)初的同時(shí)性發(fā)展有著鮮明的時(shí)代特色和背景。十九世紀(jì)末的歐洲陷入了前所未有的時(shí)代危機(jī)：宗教信仰危機(jī)，“上帝死了”；哲學(xué)滑入庸俗實(shí)證主義的泥沼；科學(xué)的啟蒙與訛詐的雙面性開(kāi)始彰顯出來(lái)。于是文學(xué)肩負(fù)起來(lái)了創(chuàng)造新神話的希望：“走向神話”一時(shí)間成為時(shí)代的口號(hào)。在精神分析學(xué)派的推動(dòng)和鼓勵(lì)下，現(xiàn)代主義時(shí)代迎來(lái)了神話復(fù)興，涌現(xiàn)出一批偉大作家和具有神話向度的作品，比如艾略特的《荒原》，喬伊斯的《尤利西斯》，卡夫卡的《城堡》，托馬斯·曼的《魔山》，布洛赫的《維吉爾之死》和畢加索的立體派油畫(huà)作品，等等。作為晚期現(xiàn)代主義的代表人物之一，布洛赫通過(guò)小說(shuō)寫(xiě)作來(lái)實(shí)踐自己特色的神話理論。而神話、統(tǒng)一體、邏各斯、老年風(fēng)格和獨(dú)立個(gè)性等均為其著力表述的核心概念。 論文的第二章以小說(shuō)為單位，發(fā)表時(shí)間為順序，展開(kāi)對(duì)布洛赫的三大作品中人物形象塑造的原型研究。在榮格批評(píng)理論的框架下，該部分系統(tǒng)分析了主人公們的神話原型如何做到了與主題表達(dá)的契合。三部小說(shuō)的人物塑造體現(xiàn)出一個(gè)共性：即人物形象的多元性。這些多重的原型意象，一方面體現(xiàn)了布洛赫觀照下末世時(shí)代精神與價(jià)值體系的多元化與復(fù)雜性，另一方面展現(xiàn)了人物伴隨時(shí)代變遷的內(nèi)心自我的成長(zhǎng)和演變。 第三章主要探討和發(fā)掘三部作品中豐富的象征意象內(nèi)涵，及其與人物自我的心理體驗(yàn)之間的關(guān)系，進(jìn)而揭示歐洲末世時(shí)代的精神風(fēng)格。弗萊認(rèn)為，象征是連接兩個(gè)隱喻之間的關(guān)系；如能揭示貫穿性象征的內(nèi)涵，文本的內(nèi)在結(jié)構(gòu)統(tǒng)一性就可以建立起來(lái)。討論據(jù)此分為兩個(gè)范疇：一是只在一部作品里重復(fù)出現(xiàn)的意象，二是貫穿布洛赫三部作品的意象。經(jīng)研究發(fā)現(xiàn)，布洛赫筆下的象征意象根據(jù)內(nèi)涵是否發(fā)生演變可以劃分為兩個(gè)階段：以《夢(mèng)游者》為代表的具體表征階段，和以《維吉爾之死》為起點(diǎn)的抽象認(rèn)知階段。這兩種風(fēng)格的流變有力地證實(shí)了《維吉爾之死》是布洛赫臻于成熟并邁入晚年風(fēng)格的標(biāo)志。 論文的第四章分析了人物追求真實(shí)自我主體作為作家乃至人物本身的生活動(dòng)力的原因。在拉康鏡像理論為批評(píng)工具的前提下，分析三部小說(shuō)中各個(gè)主人公的追求自我主體性的模式，結(jié)合他們的悲劇性格和命運(yùn)，重點(diǎn)分析了他們的戀母情結(jié)，色情主義，新娘神秘主義。在耶穌生下來(lái)向父運(yùn)動(dòng)的啟發(fā)下，結(jié)合三部作品中人物心理演變過(guò)程的特征，本文歸納出向母向父又向風(fēng)的三大心理認(rèn)知運(yùn)動(dòng)趨向。人物的心理成長(zhǎng)軌跡與拉康的鏡像三界論相互吻合。筆者研究發(fā)現(xiàn)，布洛赫以文學(xué)藝術(shù)的形式超前的演繹了拉康的鏡像理論和三界構(gòu)想。 第五章旨在闡述布洛赫的神話世界構(gòu)想。布洛赫對(duì)中世紀(jì)舊的統(tǒng)一體時(shí)代的覆滅非常緬懷與感傷，但是他作為現(xiàn)代作家的使命要求他不能停留在過(guò)去的記憶中。布洛赫提出了“世俗的絕對(duì)”的認(rèn)識(shí)論概念�？朔劳觯莆者壐魉沟闹R(shí)，建立一個(gè)倫理的、政治的、科學(xué)的世界。這個(gè)理想需要主體遠(yuǎn)離已被媚俗異化的城市，走向自然，和走入類似于馬丁·布伯所倡導(dǎo)的“我-你關(guān)系”，擺脫異化的“我-他關(guān)系”，從而感悟愛(ài)的真諦和邏各斯的本質(zhì)。在此基礎(chǔ)上，建立起保護(hù)個(gè)人尊嚴(yán)和自由的理想國(guó)。本部分重點(diǎn)研究了布洛赫同海德格爾之間認(rèn)識(shí)論上的分歧。 論文的最后一章，在探析審美與救贖的歷史淵源的基礎(chǔ)上，研究了布洛赫小說(shuō)神話世界以自我救贖為核心的倫理美學(xué)。布洛赫的美學(xué)是否定美學(xué)，又是倫理美學(xué)，救贖美學(xué)，和反芻美學(xué)。筆者提出并分析了布洛赫獨(dú)特的審丑視角：“反芻”美學(xué)。反復(fù)的觀照一個(gè)丑陋的或者令人作嘔的事物，體現(xiàn)了一個(gè)反媚俗的藝術(shù)家的良知，更好地表現(xiàn)了對(duì)現(xiàn)代傳統(tǒng)價(jià)值的崩潰和人性墮落的人文關(guān)懷。 論文的結(jié)尾部分首先總結(jié)了布洛赫的神話詩(shī)學(xué)的構(gòu)建；其次探討了他作為后期現(xiàn)代主義和后現(xiàn)代主義的過(guò)渡人物在文學(xué)史的地位，，以及他留給后人的文化遺產(chǎn)與影響力；最后對(duì)今后布洛赫研究的方向與前景給出嘗試性展望。
[Abstract]:Hermann Bloch, a late modernism in American Austria writers, behind by some critics hailed as James Joyce, Thomas Man and other modern giant comparable to modern literature. However, due to historical reasons, he is reduced to a few readers and have in the history of literary criticism have been extremely cold and forgotten novelist Bloch's three novel < < > sleepwalkers, the death of Virgil > and < > is the great representative of innocence ideological and artistic achievements, dedicated to the description of "no longer, not difficult times". He believed that believe an old Christian myth has been shattered, a new myth, a unified the picture will appear. So the myth becomes the ultimate direction of Bloch's novels, and myth and symbol theory is the core content of the theory of literary criticism. Based on the above considerations, this Based on the selection of Bloch's novels, doctoral dissertations draw up the exposition of Bloch's mythological poetics from the perspective of mythological criticism and psychoanalysis.
This thesis includes eight parts: introduction, six chapters and conclusions. The critical theories adopted in this paper are Freud, Carl Jung's psychoanalysis theory, Lacan's mirror syllogism and Frye's myth archetypal criticism theory.
The first part briefly explains the definition of poetry and myth works. Secondly, on the life and works of Bloch has made a diachronic review; according to the time sequence published, followed by an overview of Bloch's three major works of plot and theme. In order to help better understand the history of the positioning of Bloch's literary creation, Bloch respectively in the UK the United States, Japan and other countries, China acceptance and research status gives review and introduce briefly; finally, the research purpose, significance and method to summary and introduction.
The first chapter of the thesis aims to generalize the creation myth Renaissance and the rise of psychoanalysis in early twentieth Century. In early twentieth Century two at the same time of development has a distinctive character and background. At the end of the nineteenth Century, Europe is in a crisis: the crisis of religious belief hitherto unknown, "God is dead"; slide into the morass of vulgar positivism philosophy double sided; enlightenment and science began to blackmail demonstrated. Then literature shoulder up the creation of a new myth: "hope to become a myth" the slogan of the era. In the spirit of the school to promote and encourage, the modernism era ushered in the Renaissance of myth, the emergence of a number of great writers and has the myth of Eliot's works, such as < < Ulysses > wilderness, Joyce >, < > Kafka castle, Thomas Man Bloch's < < Little >, > and the death of Virgil Picasso's cubist paintings, and so on. As a representative of late modernism, Bloch by writing to practice their own characteristics. And the theory of myth and mythology, unity, logos, old style and independent personality are the focus representation of the core concept.
The second chapter in the novel as the unit, issued the order of time, start on the three prototype works of Bloch's characters. In the framework of Carl Jung's critical theory, this part systematically analyzes the archetypal protagonists how do fit with the theme of expression. The three novels reflect the characters a common: that the diversity of characters. These multiple prototype images, on the one hand reflects the diversity and complexity of spirit and value system in the era of Bloch eschatological perspective, on the other hand to show the characters with the changes of the times of the inner self growth and evolution.
The third chapter mainly discusses three works and explore the rich symbolic imagery connotation, character and its relationship with self psychological experience, and reveals the spirit of the times style. European eschatological Frye believes that the symbol is connected between the two metaphor can reveal the connotation; the symbol of unity, the internal structure of the text you can set up. The discussion can be divided into two categories: one is only repeated in a work in the image, two is through the three works of Bloch's image. The study found that the symbolic images in Bloch's works according to the connotation of whether evolution can be divided into two stages: stage specific characterization in "sleepwalking > as the representative, and to" the death of Virgil "as the starting point. The rheological stage abstract cognition of these two styles effectively confirmed the death of Virgil Bloch < > is mature and old age into the wind The sign of the lattice.
The fourth chapter analyzes the character of the pursuit of true self subject as a writer and life power itself causes. In Lacan's mirror theory as the premise criticism tools, analysis of three novels in the protagonist's pursuit of self subjectivity model, combined with their tragic character and destiny, focuses on the analysis of their love mother, eroticism, bride of mysticism. In Christ born to inspire the parent movement, combined with the evolvement features of characters in the three works of psychology, this paper concludes three psychological cognition to the mother to the father and the wind movement trend. Psychological growth trajectory and Lacan the mirror on the three characters coincide with each other. The author found that Bloch in the artistic form of literature in advance of the interpretation of the image theory and conception of Lacan realms.
The fifth chapter aims to explain the myth of Bloch Bloch on the medieval world concept. The old age is the unity of destruction of nostalgia and sentimentality, but he as a modern writer mission requires that he couldn't stay in the memory of the past. Bloch put forward the "understanding of the secular concept of absolute". To overcome death, grasp the logos of knowledge, establish an ethical, political and scientific world. This subject has been far from ideal to kitsch alienation towards nature, and into the city, similar to Martin Bubb's "I-Thou relationship", get rid of the alienation of the "I - he", and perception of the true meaning of love and nature. This logos on the basis of establishing an ideal country to protect personal dignity and freedom. This part focuses on the Bloch Heidegger theory of knowledge on the differences.
In the last chapter of this thesis, based on the historical origins of aesthetics and salvation on the study of Ethical Aesthetics in Bloch's novels the myth of the world to self redemption at the core of Bloch's aesthetic is an ethical aesthetics, aesthetics, aesthetics and aesthetic salvation, rumination. The author puts forward and analyzes the unique perspective: "ugly Bloch rumination" aesthetics. Repeated reflection an ugly or disgusting things, embodies an anti kitsch artist's conscience, better reflects the humanistic concern of modern traditional values collapse and degeneration of humanity.
The last part of the thesis firstly summarizes the construction of Bloch's myth poetics; secondly discusses him as a transitional figure in post modernism and Postmodernism in the literary history of the status and influence of cultural heritage and his legacy; finally the future research direction and Prospect of Bloch and give a prospect.

【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2013
【分類號(hào)】：I712.074

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