【摘要】：作為當(dāng)代著名華裔美國(guó)作家,譚恩美的作品數(shù)次登上暢銷書(shū)排行榜,以其為數(shù)不多的作品震撼了世界文壇。她作品中所體現(xiàn)出的東西文化沖突、母女沖突、主人公的情感困惑等主題吸引著全世界的大批讀者。除了以上主題,她的作品中還貫穿著神秘的東方形象、轉(zhuǎn)世輪回及鬼魂形象,在她的前兩部作品《喜福會(huì)》和《灶君之妻》都有所體現(xiàn),在其第三部作品《通靈女孩》中更是表現(xiàn)得淋漓盡致。然而評(píng)論界對(duì)書(shū)中撲朔迷離的故事情節(jié)褒貶不一,爭(zhēng)論的焦點(diǎn)在于小說(shuō)中所涉及的鬼魂和迷信現(xiàn)象。 本文將針對(duì)爭(zhēng)論的焦點(diǎn),依據(jù)原型批評(píng)理論從人物和主題兩個(gè)方面對(duì)《通靈女孩》中的原型進(jìn)行全面分析,旨在挖掘人類愛(ài)的集體無(wú)意識(shí)。 本文由引言、正文和結(jié)論三部分組成。引言部分對(duì)譚恩美及其作品《通靈女孩》進(jìn)行了簡(jiǎn)要介紹,接著概要回顧了學(xué)術(shù)界對(duì)《通靈女孩》所做的相關(guān)研究,最后對(duì)原型批評(píng)理論的起源和發(fā)展做了大致介紹,分析了本文的研究角度和結(jié)構(gòu)安排。 正文部分主要分為三個(gè)章節(jié)：第一章對(duì)《通靈女孩》中的原型進(jìn)行了分析,主要包括李寬的智慧老人原型；李彬彬的大地母親原型,以及李寬的死亡所體現(xiàn)的替罪羊原型。第二章論述了兩個(gè)神話主題：死亡—重生主題,以及替罪羊主題。第三章通過(guò)分析奧利維亞和李寬,以及奧利維亞和西蒙之間從隔離到融合的錯(cuò)綜復(fù)雜的關(guān)系,挖掘作品中隱含的集體無(wú)意識(shí)—無(wú)窮無(wú)盡的愛(ài)。 最后一部分為論文的結(jié)論部分,論文作者在結(jié)論部分強(qiáng)調(diào)了譚恩美通過(guò)運(yùn)用原型的意義,增強(qiáng)了《通靈女孩》的可讀性及深刻性,并且挖掘出了人類不同種群所共有的集體無(wú)意識(shí),強(qiáng)化了小說(shuō)愛(ài)的主題。
[Abstract]:As a famous contemporary Chinese American writer, Amy Tan's works have been on the bestseller list several times and shocked the world with a few of her works. The conflicts between East and West cultures, Mother and daughter conflicts, protagonists' emotional puzzles and so on in her works attract a large number of readers all over the world. In addition to the above themes, there are also mysterious Oriental images, reincarnation and ghost images in her works, which are reflected in her first two works, "Joy Luck Club" and "the wife of the Zaojun". In his third work, the channeling Girl, it was even more incisive. However, critics are mixed about the mystery of the story in the book, the focus of the debate is the ghost and superstition involved in the novel. In this paper, according to the theory of archetypal criticism, the archetypes in channeling Girl are comprehensively analyzed in terms of characters and themes, in order to excavate the collective unconsciousness of human love. This paper consists of three parts: introduction, text and conclusion. In the introduction part, I briefly introduce Amy Tan and her work "the channeling Girl", and then review the relevant research done by the academic circles, and at last introduce the origin and development of the archetypal criticism theory. The research angle and structure arrangement of this paper are analyzed. The main body is divided into three chapters: the first chapter analyzes the archetypes in "channeling Girl", including Li Kuan's prototype of the wise elderly, Li Binbin's prototype of Mother Earth, and Li Kuan's death as the scapegoat prototype. Chapter two discusses two mythological themes: death-rebirth and scapegoat. The third chapter analyzes Olivia and Li Kuan, as well as the complicated relationship between Olivia and Simon from isolation to fusion, and explores the hidden collective unconsciousness-endless love in the works. The last part is the conclusion of the paper. In the conclusion part, the author emphasizes that Amy Tan enhances the readability and profundity of channeling Girl through the use of archetypes. It also excavates the collective unconscious shared by different species of human beings and strengthens the theme of love in novels.
【學(xué)位授予單位】：北京交通大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：I712.074

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