1、評(píng)繆麗爾斯帕克的小說(shuō)布羅迪小姐的青春【作者】 周天娟；【導(dǎo)師】 王麗麗；【作者基本信息】 山東大學(xué)， 英語(yǔ)語(yǔ)言文學(xué)， 2005， 碩士【副題名】評(píng)繆麗爾斯帕克的小說(shuō)布羅迪小姐的青春【摘要】 繆麗爾斯帕克善于創(chuàng)造文學(xué)神話(huà),小說(shuō)布羅迪小姐的青春即為一例。在小說(shuō)中,主人公布羅迪小姐也試圖創(chuàng)造自己的神話(huà)。本文力圖以埃里希弗羅姆關(guān)于人道主義社會(huì)的理論解析布羅迪神話(huà)的興衰沉浮,同時(shí)指出史詩(shī)失樂(lè)園的“預(yù)定性”影響在本小說(shuō)中的體現(xiàn)。由此,繆麗爾斯帕克對(duì)人類(lèi)生存困境的洞察力及其作品中折射出的人道主義光芒得以表達(dá)。 論文第一、二章分別定位于小說(shuō)中兩個(gè)主要人物:布羅迪小姐和桑迪。前者是神話(huà)的制造者,而后者促成了神話(huà)

2、的覆滅。這兩章內(nèi)在機(jī)制相同,展現(xiàn)的是人在追求自由與自我實(shí)現(xiàn)的過(guò)程中極力擺脫生存困境與不可抗因素的努力。情節(jié)在懷有相同意念卻又是兩相制約的行為人中展開(kāi),布羅迪的神話(huà)也歷經(jīng)了輝煌后的衰落。 第一章以人類(lèi)的生存狀況為背景,著眼于人的生存二分律“此岸”與“彼岸”的距離和命運(yùn)中的不可抗因素,運(yùn)用弗羅姆關(guān)于人的需要及性格傾向的理論分析了布羅迪神話(huà)生成的緣由。為擺脫因被自然孤立所造成的離間狀態(tài),人在與他人的聯(lián)系中尋求歸屬感,權(quán)威與附屬關(guān)系由此而生。布羅迪小姐屬剝削型傾向,以瑪麗為典型的多數(shù)布羅迪幫成員則屬接受型,這使得布羅迪小姐的弄權(quán)更加恣意妄為,魔幻般的影響延伸到布幫之外的兩位男教員。同時(shí),她乖戾的對(duì)傳統(tǒng)

3、教學(xué)的反叛也生發(fā)出撒旦般的雙重性格特征。 第二章以弗羅姆關(guān)于合理信仰與不合理信仰,權(quán)威主義良心與人道主義良心的理論為基礎(chǔ),剖析了桑迪在尋求自我實(shí)現(xiàn)的過(guò)程中通過(guò)信仰與良心的轉(zhuǎn)變對(duì)布羅迪小姐成功的反向制約。這一反作用與布羅迪小姐本身固有的致命弱點(diǎn)的合力促成了布羅迪神話(huà)的幻滅。與此同時(shí),桑迪對(duì)善與良知的渴望又使得亞當(dāng)與夏娃的形象浮現(xiàn)讀者眼前。 第三章是頓悟,揭示桑迪由來(lái)已久,并一直持續(xù)到她皈依天主教之后的迷惘的根由,也印證了第二章中引用的弗羅姆關(guān)于權(quán)威內(nèi)在化的理論。這其中有繆麗爾斯帕克自身經(jīng)歷的影子,同樣值得關(guān)注的是彌漫于小說(shuō)中的天主教氛圍,桑迪的皈依可視為是因惡而向善的例證。以弗羅姆人道主義的立場(chǎng)

4、,人有充分潛能,在理智的引導(dǎo)下可以打破權(quán)威枷鎖,賦予自身存在之意義。這又一次體現(xiàn)出失樂(lè)園結(jié)尾所傳達(dá)的訊息:樂(lè)園既失,一個(gè)新的世界有待創(chuàng)造。 更多還原【Abstract】 For the mythmaker novelist Muriel Spark, The Prime ofMiss Jean Brodie is a myth of her creation, and Miss Jean Brodie inthe novel also makes endeavour in the mythmaking of her own. Thisthesis, by pointing out the pr

5、edestining influence on it of the epicParadise Lost, provides an analysis of the rise and fall of theBrodie myth in the novel as a dramatization of Muriel Sparksconcern with the existential dichotomy intrinsic to the machinery ofhuman fate and the glimmering of humanism shown through the novel,which

6、 conforms to Erich Fromms theories of humanistic socialanalysis brought herein as a tentative approach facilitating literaryinterpretation.The first two chapters, though centring respectivelyon the two main characters, Miss Jean Brodie and Stranger Sandy,actually have the same gist within: both are

7、the embodiment of humanendeavour to unshackle the limitations intrinsic to destiny andinstrumental to the existential dichotomy. However, difference in theagent of the endeavouring act, that is, in chapter one, Miss JeanBrodies, and in the second chapter, Sandys, defines the rise andthe fall of the

8、Brodie myth, main plot of the whole story. InBrodies exercise of free will and power to achieve her identity andself-realization, the myth is formed, and when it is ripe for Sandyto wield her own freedom of choice, the myth is disenchanted.Therefore, these two processes intertwine with each other, u

9、nfoldingthe mechanism of the whole plot.Chapter one proposes that the Brodiemyth is for both Muriel Spark and simultaneously, for Miss JeanBrodie, and then there is a discussion of mans living conditionswhere there is a gap between an ideal life and a lived life. ErichFromms theory of human needs is

10、 employed, which offers furtherinsight into mans existential dichotomy and the contingency he isbound to meet. Besides, his definition of character orientations isused to ease interpretation of the complex relationship of thecharacters in the novel, crucial to the basis of the rise of theBrodie myth

11、. One with an exploitive orientation, Miss Brodie assumesSatanic image, holding sway over both the Brodie set and her twolovers in the Macia Blaine School. On the part of thecontrolled, Maryis a paradigmatic one, representation of the receptive characterorientation submissive to the authoritarianism

12、 of Miss Brodie, whichreinforces Miss Bordies unchecked power-wielding for her self-realization.The second chapter focuses on Sandy Strangers pursuitof identity and self-realization. She is the only one in the Brodieset who is not overwhelmed by Miss Brodies domination. What is more,a perceptive min

13、d enables her to research the reality and MissBrodie in a new light, science, imagination and personal experiencesbeing the instrument with which she cultivates a reasonable faithfrom an erroneous faith, a humanistic conscience from anauthoritarian conscience. However, there are occasions ofbewilder

14、ment for Sandy, reminiscent of Adam and Eve who aspire afterknowledge about the formation of the Universe. Fromms theory offaith and conscience forms the grounding for delineating Sandyschange, which is a simultaneous process to her position of antagonismto Miss Brodie, whose retire for fascist prop

15、aganda heralds the fallof a myth.The third and last chapter is about the epiphany of therise and fall of the Brodie myth for both the readers and for Sandyherself. With Miss Brodies downfall and her conversion to theCatholicism, Sandy is still not free from an ambiguous situation.This ambiguity is e

16、xamined with corroboration of Muriel Sparksexperience in conversion, and Sandys case is characteristic of oneof the Sparkian morals to know good from evil, same to Adam andEve. Fromms humanistic stance for mans freedom and potentialityis emphasized here, which conforms to Muriel Sparks intention wit

17、hliterary creation. For all the dichotomy Sandy is stuck in, there isglimmering of humanism shined with her potential for development,suggestive of the humanistic streak in Muriel Spark.The predestininginfluence of Paradise Lost finds voice in The Prime of Miss JeanBrodie, with many prototypes in th

18、e paradise myth revisioned to takeon enriched implications. The message revealed can be theoreticallyinterpreted through Erich Fromms humanistic social analysis, whichprovides insights on aspects such as human needs, characterorientations, mans possibility and potentiality, and the like. Thecore of

19、this theoretical system is to highlight humanism and ameaningfulexistence for individuals, which coincides with MurielSparks moral in this novel.This initiative to employ the humanisticsocial analysis for interpretation of a post-modernist novel does notprove to be fruitless. Much leaves to be done

20、in terms of researcheson either Muriel Sparks literary creation or Erich Frommstheoretical system, the combination of which may turn out morefruitfully. Further study will merit the effort exerted up to now,and all the same, it might be hoped that a cross-disciplinarytentativeness, as has been explo

21、red by many forerunners, will evershed light on a puzzled mind when facing literary works so compellingto the sensory yet, no less challenging to the intelligence. 更多還原【關(guān)鍵詞】 生存二分律； 頓悟； 人道主義；【Key words】 existential dichotomy； epiphany； humanism；參考文獻(xiàn)：淺析布羅迪小姐的青春中的后現(xiàn)代主義布羅迪小姐的青春是穆麗爾.斯帕克最著名、最具有代表性的的小說(shuō)之一,而

22、后現(xiàn)代主義文學(xué)則是興起于 20 世紀(jì)五六十年代,這一時(shí)期正是斯帕克創(chuàng)作的高峰期,布羅迪小姐的青春很明顯受到了后現(xiàn)代主.收錄數(shù)據(jù)庫(kù)：中文科技期刊數(shù)據(jù)庫(kù) 來(lái)源：淮海工學(xué)院學(xué)報(bào)：社會(huì)科學(xué)版 2011 年 第 4 期 作者：張秦 機(jī)構(gòu)：連云港廣播電視大學(xué)職業(yè)技術(shù)學(xué)院江蘇連云港 222006顛覆性別對(duì)立,走向中心之邊緣從女性主義的視闋中角解讀布羅迪小姐的青春中的男性人物20 世紀(jì)英國(guó)著名女作家的穆麗爾斯帕克,一生著作頗多,且尤以布羅迪小姐的青春而名聲鵲起,其在文壇影響經(jīng)久不衰。本文從女性主義角度來(lái)分析小說(shuō)中的三個(gè)男性人物。透過(guò)作者對(duì)他們形象的典型刻畫(huà).收錄數(shù)據(jù)庫(kù)：中文科技期刊數(shù)據(jù)庫(kù) 來(lái)源：文學(xué)界：下旬

23、2010 年 第 8期 作者：熊海霞 機(jī)構(gòu)：福建師范大學(xué)外國(guó)語(yǔ)學(xué)院 福建福州 350007從時(shí)序和反復(fù)看布羅迪虛幻的青春布羅迪小姐的青春的一種解讀莫麗爾斯帕克的代表作布羅迪小姐的青春名為寫(xiě)布羅迪小姐的青春,實(shí)際上文章運(yùn)用獨(dú)特的時(shí)序安排和巧妙的反復(fù)手法,給讀者揭示了布羅迪小姐青春的虛幻性。收錄數(shù)據(jù)庫(kù)：中文科技期刊數(shù)據(jù)庫(kù) 來(lái)源：文學(xué)界：下旬 2010 年 第 6期 作者：姜龍霞 機(jī)構(gòu)：四川成都 四川大學(xué) 610065【作者】 周天娟；【導(dǎo)師】 王麗麗；【作者基本信息】 山東大學(xué)， 英語(yǔ)語(yǔ)言文學(xué)， 2005， 碩士【副題名】評(píng)繆麗爾斯帕克的小說(shuō)布羅迪小姐的青春【摘要】 繆麗爾斯帕克善于創(chuàng)造文學(xué)神話(huà),

24、小說(shuō)布羅迪小姐的青春即為一例。在小說(shuō)中,主人公布羅迪小姐也試圖創(chuàng)造自己的神話(huà)。本文力圖以埃里希弗羅姆關(guān)于人道主義社會(huì)的理論解析布羅迪神話(huà)的興衰沉浮,同時(shí)指出史詩(shī)失樂(lè)園的“預(yù)定性”影響在本小說(shuō)中的體現(xiàn)。由此,繆麗爾斯帕克對(duì)人類(lèi)生存困境的洞察力及其作品中折射出的人道主義光芒得以表達(dá)。 論文第一、二章分別定位于小說(shuō)中兩個(gè)主要人物:布羅迪小姐和桑迪。前者是神話(huà)的制造者,而后者促成了神話(huà)的覆滅。這兩章內(nèi)在機(jī)制相同,展現(xiàn)的是人在追求自由與自我實(shí)現(xiàn)的過(guò)程中極力擺脫生存困境與不可抗因素的努力。情節(jié)在懷有相同意念卻又是兩相制約的行為人中展開(kāi),布羅迪的神話(huà)也歷經(jīng)了輝煌后的衰落。 第一章以人類(lèi)的生存狀況為背景,著眼

25、于人的生存二分律“此岸”與“彼岸”的距離和命運(yùn)中的不可抗因素,運(yùn)用弗羅姆關(guān)于人的需要及性格傾向的理論分析了布羅迪神話(huà)生成的緣由。為擺脫因被自然孤立所造成的離間狀態(tài),人在與他人的聯(lián)系中尋求歸屬感,權(quán)威與附屬關(guān)系由此而生。布羅迪小姐屬剝削型傾向,以瑪麗為典型的多數(shù)布羅迪幫成員則屬接受型,這使得布羅迪小姐的弄權(quán)更加恣意妄為,魔幻般的影響延伸到布幫之外的兩位男教員。同時(shí),她乖戾的對(duì)傳統(tǒng)教學(xué)的反叛也生發(fā)出撒旦般的雙重性格特征。 第二章以弗羅姆關(guān)于合理信仰與不合理信仰,權(quán)威主義良心與人道主義良心的理論為基礎(chǔ),剖析了桑迪在尋求自我實(shí)現(xiàn)的過(guò)程中通過(guò)信仰與良心的轉(zhuǎn)變對(duì)布羅迪小姐成功的反向制約。這一反作用與布羅迪

26、小姐本身固有的致命弱點(diǎn)的合力促成了布羅迪神話(huà)的幻滅。與此同時(shí),桑迪對(duì)善與良知的渴望又使得亞當(dāng)與夏娃的形象浮現(xiàn)讀者眼前。 第三章是頓悟,揭示桑迪由來(lái)已久,并一直持續(xù)到她皈依天主教之后的迷惘的根由,也印證了第二章中引用的弗羅姆關(guān)于權(quán)威內(nèi)在化的理論。這其中有繆麗爾斯帕克自身經(jīng)歷的影子,同樣值得關(guān)注的是彌漫于小說(shuō)中的天主教氛圍,桑迪的皈依可視為是因惡而向善的例證。以弗羅姆人道主義的立場(chǎng),人有充分潛能,在理智的引導(dǎo)下可以打破權(quán)威枷鎖,賦予自身存在之意義。這又一次體現(xiàn)出失樂(lè)園結(jié)尾所傳達(dá)的訊息:樂(lè)園既失,一個(gè)新的世界有待創(chuàng)造。 更多還原【Abstract】 For the mythmaker novelis

27、t Muriel Spark, The Prime ofMiss Jean Brodie is a myth of her creation, and Miss Jean Brodie inthe novel also makes endeavour in the mythmaking of her own. Thisthesis, by pointing out the predestining influence on it of the epicParadise Lost, provides an analysis of the rise and fall of theBrodie my

28、th in the novel as a dramatization of Muriel Sparksconcern with the existential dichotomy intrinsic to the machinery ofhuman fate and the glimmering of humanism shown through the novel,which conforms to Erich Fromms theories of humanistic socialanalysis brought herein as a tentative approach facilit

29、ating literaryinterpretation.The first two chapters, though centring respectivelyon the two main characters, Miss Jean Brodie and Stranger Sandy,actually have the same gist within: both are the embodiment of humanendeavour to unshackle the limitations intrinsic to destiny andinstrumental to the exis

30、tential dichotomy. However, difference in theagent of the endeavouring act, that is, in chapter one, Miss JeanBrodies, and in the second chapter, Sandys, defines the rise andthe fall of the Brodie myth, main plot of the whole story. InBrodies exercise of free will and power to achieve her identity a

31、ndself-realization, the myth is formed, and when it is ripe for Sandyto wield her own freedom of choice, the myth is disenchanted.Therefore, these two processes intertwine with each other, unfoldingthe mechanism of the whole plot.Chapter one proposes that the Brodiemyth is for both Muriel Spark and

32、simultaneously, for Miss JeanBrodie, and then there is a discussion of mans living conditionswhere there is a gap between an ideal life and a lived life. ErichFromms theory of human needs is employed, which offers furtherinsight into mans existential dichotomy and the contingency he isbound to meet.

33、 Besides, his definition of character orientations isused to ease interpretation of the complex relationship of thecharacters in the novel, crucial to the basis of the rise of theBrodie myth. One with an exploitive orientation, Miss Brodie assumesSatanic image, holding sway over both the Brodie set

34、and her twolovers in the Macia Blaine School. On the part of thecontrolled, Maryis a paradigmatic one, representation of the receptive characterorientation submissive to the authoritarianism of Miss Brodie, whichreinforces Miss Bordies unchecked power-wielding for her self-realization.The second cha

35、pter focuses on Sandy Strangers pursuitof identity and self-realization. She is the only one in the Brodieset who is not overwhelmed by Miss Brodies domination. What is more,a perceptive mind enables her to research the reality and MissBrodie in a new light, science, imagination and personal experie

36、ncesbeing the instrument with which she cultivates a reasonable faithfrom an erroneous faith, a humanistic conscience from anauthoritarian conscience. However, there are occasions ofbewilderment for Sandy, reminiscent of Adam and Eve who aspire afterknowledge about the formation of the Universe. Fro

37、mms theory offaith and conscience forms the grounding for delineating Sandyschange, which is a simultaneous process to her position of antagonismto Miss Brodie, whose retire for fascist propaganda heralds the fallof a myth.The third and last chapter is about the epiphany of therise and fall of the B

38、rodie myth for both the readers and for Sandyherself. With Miss Brodies downfall and her conversion to theCatholicism, Sandy is still not free from an ambiguous situation.This ambiguity is examined with corroboration of Muriel Sparksexperience in conversion, and Sandys case is characteristic of oneo

39、f the Sparkian morals to know good from evil, same to Adam andEve. Fromms humanistic stance for mans freedom and potentialityis emphasized here, which conforms to Muriel Sparks intention withliterary creation. For all the dichotomy Sandy is stuck in, there isglimmering of humanism shined with her po

40、tential for development,suggestive of the humanistic streak in Muriel Spark.The predestininginfluence of Paradise Lost finds voice in The Prime of Miss JeanBrodie, with many prototypes in the paradise myth revisioned to takeon enriched implications. The message revealed can be theoreticallyinterpreted through Erich Fromms humanistic social analysis, whichprovides insights on aspects such as human needs, characterorientations, mans possibility and potentiality, and the like. Thecore of this theoretical system is to highlight humanism