《高老莊》論文：原型批評視野下《高老莊》與《還鄉(xiāng)》之比較研究【中文摘要】原型批評理論的出現(xiàn)為大量文學(xué)巨作,如古希臘悲劇、《圣經(jīng)》和莎士比亞戲劇等,提供了全新的分析切入點。本文運用原型批評相關(guān)理論對中國當代作家賈平凹的《高老莊》和英國小說家托馬斯·哈代的《還鄉(xiāng)》兩部小說進行了平行比較研究?！陡呃锨f》與《還鄉(xiāng)》在情節(jié)安排上有著共同的“回歸故里”大背景,兩位主人公都是在離鄉(xiāng)數(shù)年后的選擇性回歸；在故事設(shè)置上也有相似之處,比如主人公的所處環(huán)境；在故事發(fā)生的文化背景上,兩者都處在社會工業(yè)化和城鎮(zhèn)化的轉(zhuǎn)型時期。兩部作品的相似點奠定了比較的基礎(chǔ),在此之上,本文運用原型批評理論主要創(chuàng)始人諾思洛普·弗萊的原型主題和原型意象對兩部作品進行了詮釋與比較。在《高老莊》與《還鄉(xiāng)》中,隨著故事情節(jié)的發(fā)展,本文發(fā)掘出了原型主題中的逃離主題與成長主題；通過將書中主要人物的對應(yīng)展開,具體呈現(xiàn)出了四個典型原型意象,即荒漠意象、希臘女神意象、基督教精神意象以及影子意象。通過對四個意象和兩個主題的挖掘,證明了原型批評理論應(yīng)用于比較文學(xué)方面的可行性和正確性,該理論將單一的文學(xué)作品納入到文學(xué)大系統(tǒng)中,而“原型”就是連接單一文學(xué)作品之間的橋梁。同時,通過對兩部小說的平行比較闡發(fā)了一個事實,即不同國家在特定歷史時...【英文摘要】Undertherationallightofarchetypalcriticism,agroupofgreatworkshavebeenunderstoodandanalyzedfromanewperspective.TheseworksincludeGreektragedy,theBibleandShakespeare’sdramas.ThethesisistoattemptaparallelcomparativestudybetweenChinesewriterJiaPingwa’sGaoLaoZhuangandEnglishnovelistThomasHardy’sTheReturnoftheNativefromtheperspectiveofarchetypalcriticism.Despitethesedifferences,bothGaoLaoZhuangandTheReturnoftheNativeshareasimilarnat...【關(guān)鍵詞】《高老莊》《還鄉(xiāng)》原型批評比較文學(xué)【英文關(guān)鍵詞】GaoLaoZhuangTheReturnoftheNativearchetypalcriticismcomparativestudy【目錄】原型批評視野下《高老莊》與《還鄉(xiāng)》之比較研究

摘要

4-5

Abstract

5

TableofContents

6-8

ChapterOneIntroduction

8-14

1.1JiaPingwaandThomasHardy

8-9

1.2GaoLaoZhuangandTheReturnoftheNative

9-10

1.3TheFoundationsoftheComparativeStudy

10-12

TheSimilaritiesbetweentheTwoaboveNovelists

11

TheSimilaritiesbetweentheTwoaboveNovels

11-12

1.4TheStructureoftheThesis

12-14

ChapterTwoLiteratureReview

14-18

2.1LiteratureReviewofGaoLaoZhuang

14-15

2.2LiteratureReviewofTheReturnoftheNative

15-16

2.3LiteratureReviewofComparativeStudiesupontheTwoNovels

16-18

ChapterThreeTheoreticalRationale-ArchetypalCriticism

18-26

3.1AnOverviewofArchetypalCriticism

18-20

3.2FrazerandJungandArchetypalCriticism

20-21

FrazerandArchetypalCriticism

20

JungandArchetypalCriticism

20-21

3.3FryeandArchetypalCriticism

21-23

3.4TheImpactofArchetypalCriticism

23-24

TheImpactofArchetypalCriticismonWesternLiteraryWorks

23

TheImpactofArchetypalCriticismonChineseLiteraryWorks

23-24

3.5TheImplementationsofArchetypalCriticismupontheComparativeLiterature

24-26

ChapterFourAnalysisofArchetypalMotifsinGaoLaoZhuangandTheReturnoftheNative

26-32

4.1EscapeMotif

26-28

DefinitionofEscapeMotif

26-27

DisplacementofEscapeMotif

27-28

TheAffinityofEscapeMotifsbetweenGaoLaoZhuangandTheReturnoftheNative

28

4.2InitiationMotif

28-31

DefinitionofInitiationMotif

28-29

DisplacementofInitiationMotif

29-30

TheAffinityofInitiationMotifsbetweenGaoLaoZhuangandTheReturnoftheNative

30-31

4.3Summary

31-32

ChapterFiveAnalysisofArchetypalImagesinGaoLaoZhuangandTheReturnoftheNative

32-49

5.1TheDesertImage

32-37

StonesinGaoLaoZhuang

33-35

EgdonHeathinTheReturnoftheNative

35-37

Stones-TheDesert-EgdonHeath

37

5.2TheGreekGoddessImage

37-41

XiXiainGaoLaoZhuang

38-39

EustaciainTheReturnoftheNative

39-40

XiXia-TheGreekGoddness-Eustacia

40-41

5.3TheChristianSpiritImage

41-44

ShiTouinGaoLaoZhuang

41-43

ClyminTheReturnoftheNative

43-44

ShiTou-TheChristianSpirit-Clym

44

5.4TheShadowImage

44-47

GaoZiluinGaoLaoZhuang

45-46

Wildevein