本文選題：大母神　切入點：原型　出處：《山東大學》2006年碩士論文

【摘要】：這篇論文從大母神原型這一視角審視比較《奇異的插曲》和《聊齋志異》中的女性人物形象。大母神這一原型在中西方的不同發(fā)展路程體現(xiàn)在奧尼爾和蒲松齡的作品中，造成了其中女性人物在形象塑造上的不同之處。論文共分七部分：導言，第一章，第二章，，第三章，第四章，結(jié)論。 導言是對論文思想構(gòu)架的整體介紹。首先是對尤金·奧尼爾和蒲松齡筆下的女性人物根據(jù)前人研究成果進行的綜述。在奧尼爾的觀念里，女性總是與“母性”密不可分。所以他筆下的女性人物總帶有某種程度的母性特征。她們像母親對待兒子一樣對待身邊的男性，愛護他們，同時也霸道的占有他們。這種母性特征與大母神原型遙相呼應(yīng)。在《聊齋志異》中共有二百多位女性人物。其中有一類最為引人注目。她們大多是狐女，女鬼或各種精怪，擁有奇異的法力，常拯救男性于水火之中。許多學者使用現(xiàn)代流行的心理分析和原型理論分析這類女性，認為她們源于母親原型，同時具有哺育與殺伐的特性。這一點也是與大母神原型相吻合的。基于這一點，《奇異的插曲》和《聊齋志異》便有了可比較性。導言也對文章的理論框架進行了綜合論述。首先，大母神崇拜是人類文明的普遍現(xiàn)象。人類學家和宗教史家們確信，原母神是后代一切女神的原型，甚至可能是一切神的原始雛形。文章分析并總結(jié)了大母神這一原型的根源及其基本特征，并論述了這種原型作為人類集體無意識的重要部分對人類思想行為的影響及這種影響的恒久性。接著文章論述了大母神在中西方文明中演變的過程，即從原母神演變成地母，而后演變成性愛女神，最后升華為愛與美的女神。但由于文化背景不同，這種演化的最終結(jié)果也略有不同。這種文化的差異正是研究的意義所在。 第一章具體論述大母神崇拜發(fā)生的時代背景及其主要特征。大母神特指父系社會之前的最大神靈，是狩獵和史前社會的意識形態(tài)核心。雖然母系社會已經(jīng)一去不復返，但是對女神宗教的追憶、懷戀和向往卻從未停止。這種追憶，一方面表現(xiàn)為對回歸母親的渴望，另一方面表現(xiàn)為對父權(quán)社會的反叛。本章還論述了母神原型的基本特征：善與惡的并存。她是仁慈的母親，給予生命；她還是殘酷的母親，奪取生命。在這一章最后論述了母神在父權(quán)社會的變化。她作為創(chuàng)世神的
[Abstract]:From the perspective of the archetype of the Great Mother God, this paper examines and compares the female characters in "Strange interlude" and "Liaozhai Zhi Yi". The archetypal development of the archetype in China and the West is reflected in O'Neill 's and Pu Songling's works. The paper is divided into seven parts: introduction, chapter one, chapter two, chapter three, chapter four, conclusion. The introduction is an overall introduction to the ideological framework of the thesis. The first is a summary of Eugene O'Neill and Pu Songling's female characters according to previous studies. Women are always inseparable from "motherhood." so the female characters in his writings always have a certain degree of motherhood. They treat the men around them like their sons and love them. At the same time, they are also overbearing. This maternal characteristic echoes the archetype of the Great Mother God. In Liaozhai, there are more than 200 female characters. One of them is the most striking. Most of them are fox women, female ghosts or various geniuses. Many scholars use modern psychoanalysis and archetypal theory to analyze such women, believing that they originated from their mothers' archetypes. At the same time, it has the characteristics of feeding and killing felling. This also coincides with the archetype of the Great Mother God. Based on this, the "strange interlude" and "Liaozhai Zhi Yi" are comparable. The introduction also gives the theoretical framework of the article. Comprehensive discussion. First of all, The worship of the Great Mother God is a universal phenomenon of human civilization. Anthropologists and religious historians are convinced that the original Mother God is the prototype of all the Goddesses of future generations. This paper analyzes and summarizes the origin and basic characteristics of the archetype of the Great Mother God. The influence of this archetype on human thought and behavior as an important part of human collective unconsciousness and its permanence are discussed. Then the paper discusses the evolution process of the Great Mother God in Chinese and Western civilization, that is, from the original Mother God to the Earth Mother. Then it evolved into a goddess of sex and sublimated into a goddess of love and beauty. But the final result of this evolution was slightly different due to the different cultural backgrounds. This cultural difference is the meaning of the study. The first chapter specifically discusses the background and main characteristics of the worship of the Great Mother God. It refers to the greatest deity before the patrilineal society, which is the ideological core of hunting and prehistoric society. Although the matriarchal society is gone, But the remembrance, nostalgia, and yearning of the Goddess's religion have never ceased. This memory, on the one hand, is manifested in the desire to return to the mother, This chapter also discusses the basic characteristics of the archetype of the Mother God: the coexistence of good and evil. She is a kind mother, giving life; she is also a cruel mother. To take life. At the end of this chapter, the change of the mother god in the patriarchal society is discussed.
【學位授予單位】：山東大學
【學位級別】：碩士
【學位授予年份】：2006
【分類號】：I0-03;I106.4

【引證文獻】

相關(guān)期刊論文 前1條

1 朱振武;謝秀娟;;《聊齋志異》與外國文學比較研究三十年[J];蒲松齡研究;2011年02期

本文編號：1694164