西方文学中“替罪羊”形象的文化原型解读

发布时间：2018-10-19 20:17

【摘要】：20世纪初，，荣格提出了“原型”理论，在此基础上，1957年加拿大学者诺思罗普·弗莱发表了他的经典著作《批评的剖析》。这本书的诞生，标志着“原型批评”作为一种全新的范式，在西方文论界异军突起，占据了重要的地位。本文所讨论的“替罪羊”正是这样的一个标准模型。文章从原型批评的视角出发，分别从起源、演变、范型、接受和文化心理等方面，针对西方文学中的“替罪羊”形象进行分析，从而进行文化意义上的解读。本文的引言部分对“原型”理论及“替罪羊”形象作出基本的概括，并指出二者之间的联系。引言从诺斯罗普·弗莱的“神话性”视角出发，并指出“替罪羊”的实质是一种类型化的“原型”，从而将批评理论与分析对象有机结合到一起。本文的第一章对“替罪羊”形象进行渊源考辩。从“替罪羊”形象的内涵及其演变，“替罪羊”形象的基本要素，“替罪羊”形象的基本范式及文本分析三个视角入手，对“替罪羊”形象进行宏观的把握。本文的第二章对“替罪羊”形象的文化心理基础作出论述。本章指出，“替罪羊”形象的形成，从本质的角度而言，来自于人类的基本文化心理—在荣格的原型心理学中，表现为“集体无意识”和“个体无意识”两个方面。本文的第三章对“替罪羊”形象的文学审美功能做出考察。本章指出，作为接受范畴的意义，“替罪羊”形象本身具有两种主要的文学审美功能。其一是“净化”功能，其二是“救赎”功能。本文的最后一部分为结语部分。在结语部分，本文指出，尽管进入二十世纪之后，各种现代主义和后现代主义的理论均对“替罪羊”本身加以解读，然而倘若剥离了人文关怀，任何的解读实际上都无法有效地介入“替罪羊”形象及其背后的语境之中。二十世纪九十年代以来，对“替罪羊”原型的描述逐渐地在增多，而关于“净化”和“救赎”的理念也为更多的人所认可。同时，本文也指出，相较于西方文学，在东方文学中同样有大量的文学形象具有“替罪羊”的特质。因而，在全世界范围来看，“替罪羊”无疑是一个永恒的形象。
[Abstract]:At the beginning of the 20th century, Jung put forward the archetypal theory, and on this basis, the Canadian scholar Northrop Fry published his classic, an Analysis of criticism, in 1957. The birth of this book symbolizes that archetypal criticism, as a new paradigm, has taken an important position in the western literary theory. The scapegoat discussed in this paper is such a standard model. From the perspective of archetypal criticism, this paper analyzes the image of scapegoat in western literature from the aspects of origin, evolution, paradigm, acceptance and cultural psychology. The introduction of this paper summarizes the archetypal theory and scapegoat image, and points out the relationship between them. The introduction points out that the essence of scapegoat is a kind of "prototype" from Northrop Frey's "mythological" perspective, which combines the critical theory with the object of analysis. The first chapter discusses the origin of scapegoat image. Starting with the connotation and evolution of scapegoat image, the basic elements of scapegoat image, the basic paradigm of scapegoat image and text analysis, the author holds the image of scapegoat macroscopically. The second chapter discusses the cultural psychological basis of scapegoat image. This chapter points out that the formation of the image of scapegoat comes from the basic cultural psychology of human beings in essence. In Jung's archetypal psychology, there are two aspects: "collective unconscious" and "individual unconscious". The third chapter investigates the literary aesthetic function of scapegoat. This chapter points out that as the meaning of acceptance category, scapegoat image itself has two main literary aesthetic functions. One is the function of purification, the other is the function of redemption. The last part of this paper is the conclusion. In the conclusion, this paper points out that, although after the 20th century, various theories of modernism and postmodernism have interpreted scapegoat itself, however, if humanistic care is taken away, No interpretation can effectively intervene in the image of scapegoat and the context behind it. Since the 1990s, the description of scapegoat archetypes has gradually increased, and the concepts of "purification" and "redemption" have been accepted by more people. At the same time, this article also points out that compared with western literature, there are also a large number of literary images in oriental literature with the characteristics of scapegoats. Thus, the scapegoat is an eternal image throughout the world.
【学位授予单位】：齐齐哈尔大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：I106

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