20世纪初中西现代小说中的自我

发布时间：2018-03-21 02:48

本文选题：20世纪　切入点：中西　出处：《兰州大学》2007年硕士论文　论文类型：学位论文

【摘要】： 自我是一个古老的话题，在哲学和心理学中，自我问题是一个有关人的核心问题。文学是人学也是心学，它渗透了作者的艺术追求和自我意识。而作品中主人公的内心世界即自我意识，文学研究则需要借鉴哲学和心理学对自我的相关论述，以致于让我们更加透澈地分析那种自我。人有两种基本精神，即人文精神和科学精神，文学创作趋向于人文精神而文学批评趋向于科学精神。文学批评的科学精神一定是以一种或某种理论为支撑点的，但是批评也需要“批评的自觉”——一种既承认理论的有效性也承认理论的有限性的自觉，这种自觉也反映着一个批评家或读者的自我意识。在20世纪中国现代小说和西方现代主义经典小说中，主人公的自我意识发生了根本的改变，他们成了自己内心世界的流浪儿，也有时达到了一个“终极悖论”的存在境况。由此，他们的生存境遇也就走向了社会的边缘，变成了一个个狂人、陌生人、局外人甚至废人。自我有“文化自我观”和“个体自我观”的不同，相比较而言，中国现代小说中主人公的自我意识更倾向于从国家、社会、民族中来认识个体；而西方现代主义小说中主人公的自我意识更倾向于从个体出发来认识他人和社会。阿Q和K(卡夫卡《城堡》)的自我就是这两种自我意识的典型代表。自我意识的不同与中西文化语境有关，但在某种意义上说，这两种自我意识之间的差别并不像想象中地那样大。经典以及经典化是任何一个时代都存在的问题，一部作品的经典化过程也不仅是文学的事，即可能是把经典的审美放在一个次要地位，而更多地和历史、社会、政治有着密切的关系。经典不一定和我们的当下关怀直接相关，经典欢迎人们对它的不同解读，但也要尊重它本身的内在逻辑。经典和通俗之间没有不可逾越的鸿沟。比较文学是一门在危机声中发展的学科，比较文学研究如果不能发现民族文学或国别文学研究中发现不了的问题，那它确实就没有存在的必要。比较文学“中国学派”以跨文化研究为其显著特征，但是，比较文学现在需要也能够从民族文学中找到自己的立足点，从而形成“世界性研究”。比较文学的“世界性研究”不企盼世界走向“大同文学”，它只渴望搭建一个对双方都有意义的文学对话舞台。自我的不同表现方式就是这个舞台上的演员，即比较文学说到底是试图展现出不同民族文学中的不同自我。本论文以人本主义批评为视角，以比较文学的主题学理论为基点，，以20世纪中西若干部经典小说为基本参照系，试图展现在一个急遽变化的时代中，自我在文学艺术世界里所呈现出的不同方式。
[Abstract]:Self is an ancient topic. In philosophy and psychology, the question of self is a core question about human beings. Literature is both human and mental. It permeates the author's artistic pursuit and self-consciousness, while the inner world of the protagonist in his works is self-consciousness, and literary research needs to draw lessons from philosophical and psychological expositions on himself, so that we can analyze that kind of self more thoroughly. Human beings have two basic spirits, that is, humanistic spirit and scientific spirit. Literary creation tends to humanistic spirit and literary criticism tends to scientific spirit. The scientific spirit of literary criticism must be supported by one or some theory. But criticism also needs "critical consciousness"-a consciousness that acknowledges both the validity of the theory and the limitation of the theory, which also reflects the self-consciousness of a critic or a reader. In 20th century, in Chinese modern novels and Western modernist classical novels, the protagonists' self-consciousness changed radically, and they became the vagrants of their inner world. Sometimes the existence of an "ultimate paradox" has been reached. As a result, their living conditions have moved to the margins of society and become crazy people, strangers, There are differences between "cultural self-concept" and "individual self-concept". In comparison, the protagonist's self-consciousness in modern Chinese novels is more inclined to understand the individual from the state, society and nation. The self-consciousness of the protagonists in the western modernist novels is more inclined to understand others and society from the individual point of view. Ah Q and K (Kafka Castle) are the typical representatives of these two kinds of self-consciousness. The differences are related to the cultural context of China and the West. But in a sense, the difference between these two self-consciousness is not as great as thought. Classics and classicalization are the problems of any time, and the process of canonization of a work is not only a matter of literature, that is, the classical aesthetics may be put in a secondary position, and more with history, society, Politics has a close relationship. The classic is not necessarily directly related to our present care. It welcomes people's different interpretations of it, but also respects its own internal logic. There is no insurmountable gap between the classic and the popular. Comparative literature is a subject developed in the sound of crisis. If comparative literature studies cannot find the problems that can not be found in the study of national literature or national literature, There is no need for it to exist. The "Chinese School" of comparative literature is characterized by cross-cultural studies. However, comparative literature now needs and can find its own foothold in national literature. Thus, a "world study" is formed. The "world study" of comparative literature does not expect the world to go to "Datong Literature". It only desires to build a literary dialogue stage that is meaningful to both sides. The different expression of self is. The actors on the stage, That is to say, comparative literature is trying to show the different self in the literature of different nationalities. From the perspective of humanistic criticism, based on the thematic theory of comparative literature and the classical novels of Chinese and Western cadres in 20th century, this thesis tries to show itself in a rapidly changing era. The different ways in which self appears in the world of literature and art.
【学位授予单位】：兰州大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：I106.4;I0-03

【引证文献】