本文選題：海明威 + 死亡意識(shí)　； 參考：《長(zhǎng)江大學(xué)》2013年碩士論文

【摘要】：歐內(nèi)斯特·米勒·海明威(Ernest Miller Hemingway),作為二十世紀(jì)美國(guó)最具代表性的“迷惘一代”的小說(shuō)家之一,其小說(shuō)之所以能夠享譽(yù)世界,除了他“冰山原則”的寫(xiě)作風(fēng)格、以及“電文式”簡(jiǎn)潔的語(yǔ)言以外,最重要的在于他在作品對(duì)于“死亡”這一主題的不斷探索,并且成功地塑造了無(wú)數(shù)“硬漢”形象,同時(shí)其作品也揭示了海明威本人的對(duì)于“死亡”的認(rèn)知過(guò)程。 海明威的小說(shuō)不僅僅涉及一些零星的死亡現(xiàn)象,而是深刻地體現(xiàn)了他的一種死亡哲學(xué)。在他的五部長(zhǎng)篇小說(shuō)、一部中篇小說(shuō)、一部劇本和八十一部短篇幾乎篇篇都談?wù)撍劳龌驅(qū)懪c死亡有關(guān)的情節(jié)內(nèi)容。海明威想以自己的親身經(jīng)歷和作品向世人展示他對(duì)死亡問(wèn)題形而上的理性思考。他提出了“死自有一種美”,“活著,則勇敢地活下去”的人生觀、價(jià)值觀和死亡觀,他強(qiáng)調(diào)以“硬漢”精神來(lái)面對(duì)死亡。 海明威認(rèn)為：“人生是一場(chǎng)孤獨(dú)的斗爭(zhēng),是行動(dòng)的拼死的激情。在他背后意識(shí)不到任何意義或理由,人生里,沒(méi)有任何東西被說(shuō)明,被改善或被挽救,也不能真正地提出或解決什么問(wèn)題。人只能在人生的籬笆上憤怒或死去或傷心地觀望�！诒砻婵磥�(lái),他著力書(shū)寫(xiě)人對(duì)死亡的恐懼、逃避、彷徨,書(shū)寫(xiě)死亡的一系列現(xiàn)象,臨終時(shí)與死亡的肌膚之親、與死亡面對(duì)面的談判,以及談判失敗之后,死亡成為唯一所有時(shí)的一切體驗(yàn),而實(shí)際上,并非僅僅為死亡而寫(xiě)死亡,而是彰顯生存的意義、生命的價(jià)值,凸現(xiàn)生命意志的強(qiáng)大張力。在他看來(lái)最重要的并非是死亡意識(shí)的不可抗拒性,而是死亡恐懼之前展現(xiàn)的人性悲劇崇高之美,以及人生最大價(jià)值的實(shí)現(xiàn)。死亡是對(duì)生命的否定,而這恰恰加強(qiáng)了生命的審美價(jià)值和意義。換個(gè)角度說(shuō),對(duì)生命的否定使死亡帶上了一道眩目的美的光環(huán)。 本文試圖根據(jù)弗洛伊德精神分析理論,結(jié)合海明威充滿傳奇色彩的人生經(jīng)歷通過(guò)六大章節(jié)的內(nèi)容,解讀海明威”死亡意識(shí)”的形成過(guò)程以及其后對(duì)其作品的影響,同時(shí)也將以他具有代表性的不同時(shí)期作品《印第安營(yíng)地》、《殺人者》、《太陽(yáng)照常升起》、《永別了,武器》、《乞力馬扎羅的雪》和《老人與海》為依據(jù),來(lái)論證他作品背后的亡哲學(xué)的具體內(nèi)涵,并試圖從一個(gè)全新的角度去理解與認(rèn)識(shí)海明威和他的作品,。 論文第一章首先介紹了海明威人生經(jīng)歷及其主要作品。然后介紹了本論文的研究背景以及國(guó)內(nèi)外對(duì)于海明威作品中死亡意識(shí)的研究狀況。最后介紹了弗洛伊德的精神分析理論對(duì)于西方文學(xué)批評(píng)以及中國(guó)文學(xué)批評(píng)的影響。 第二章闡述了弗洛伊德的精神分析理論中的三大主要理論,其中包括意識(shí)與無(wú)意識(shí)、人格結(jié)構(gòu)(木我、自我和超我)以及死亡本能。 第三章從三個(gè)方面闡述了海明威死亡意識(shí)的形成過(guò)程。一、海明威童年時(shí)期受其祖父及父親“死亡”的影響而形成的無(wú)意識(shí)死亡觀。二、成年之后的海明威在參加世界大戰(zhàn)期間以及過(guò)后對(duì)其死亡意識(shí)造成的影響。三、海明威中老年時(shí)期對(duì)于死亡地更深層次地探索,以及社會(huì)環(huán)境對(duì)其死亡意識(shí)造成的影響。 第四章聯(lián)系弗洛伊德人格結(jié)構(gòu)理論分析海明威作品中死亡意識(shí)的發(fā)展過(guò)程。一、以《印第安營(yíng)地》、《殺人者》為例,探討海明威作品中的人格本我意識(shí),揭示了海明威初期面對(duì)死亡,對(duì)死亡的一種恐懼心理。二、以《太陽(yáng)照常升起》、《永別了,武器》兩部作品為例,探討其作品中的人格自我意識(shí),揭示了海明威在戰(zhàn)爭(zhēng)年代對(duì)死亡產(chǎn)生一種淡漠無(wú)力的消極悲觀態(tài)度。三、以《乞力馬扎羅的雪》、《老人與�！窞槔�,探討海明威作品中的人格超我意識(shí),揭示了海明威“死亡觀”一個(gè)質(zhì)的飛躍,即超越死亡,走向永恒。 第五章聯(lián)系弗洛伊德死亡本能理論分析以上六部作品,探討海明威作品中死亡意識(shí)的變化特征。一、在《印第安營(yíng)地》和《殺人者》中,海明威對(duì)死亡充滿了孩帝般的天真無(wú)邪,他認(rèn)為“他永遠(yuǎn)不會(huì)死”。二、在《太陽(yáng)照常升起》和《永別了,武器》中,海明威筆下的主人公經(jīng)歷了戰(zhàn)爭(zhēng)(或者說(shuō)出于海明威經(jīng)歷了戰(zhàn)爭(zhēng)和死亡),無(wú)論身體上還是心靈上,都布滿了創(chuàng)傷。海明威褪去了孩提時(shí)的天真和對(duì)生活的幻想。他勇敢地面對(duì)戰(zhàn)爭(zhēng)和死亡,但卻感到孤立無(wú)援。他認(rèn)為,人類能夠勇敢地面對(duì)死亡,但卻無(wú)法戰(zhàn)勝死亡。三、在《乞力馬扎羅的雪》和《老人與�！分�,海明威不僅敢于直面死亡,同時(shí)他堅(jiān)信,人類處于優(yōu)勢(shì)地位。盡管人類無(wú)法征服死亡,但卻可以從精神上戰(zhàn)勝死亡,實(shí)現(xiàn)人生價(jià)值。 第六章為論文的結(jié)論部分。根據(jù)弗洛伊德精神分析理論對(duì)海明成作品中的“死亡意識(shí)”進(jìn)行的重新解讀,對(duì)海明威作品背后的死亡哲學(xué)有了一個(gè)更深刻的理解。海明威對(duì)生死表現(xiàn)出了超然的態(tài)度和達(dá)觀的境界。他認(rèn)為,每個(gè)人都應(yīng)該勇敢地直視死亡,克服對(duì)死亡的恐懼,以最大限度地實(shí)現(xiàn)生命與存在的價(jià)值。這就是死亡的壯美與尊嚴(yán)。這樣,人類戰(zhàn)勝了死亡,成為死亡的主人,實(shí)現(xiàn)了人生價(jià)值。
[Abstract]:Ernest Miller Hemingway (Ernest Miller Hemingway), as one of the most representative "lost generation" novelists in the United States in the twentieth Century, has a great reputation for his novels. Besides the writing style of his "iceberg principle" and the concise language of "telegraphic style", the most important thing is that he is in his works. The constant exploration of the theme of death and the successful creation of countless "hard men" images reveals the cognitive process of "death" by Hemingway himself.
Hemingway's novel not only involves some sporadic phenomena of death, but a profound embodiment of his philosophy of death. In his five novels, a novella, a script, and eighty-one short texts, he talks about the plot of death or death related to death. Hemingway wants to experience his own experience and work. To show to the world his metaphysical thinking about the problem of death, he put forward a view of life, values and the outlook of death, "the death has a kind of beauty", "live, and live bravely". He emphasizes the spirit of "hard man" to face death.
"Life is a lonely struggle, a passion for action," Hemingway said. "There is no sense or reason behind him. In life, nothing is explained, improved or saved, and can not really put forward or solve any problem. People can only be angry or dead or sadly on the fence of life." On the surface, he focuses on writing a series of phenomena of man's fear of death, evasion, hesitation, writing of death, death with the kiss of the skin, the face to face negotiations with death, and the failure of the negotiations, to be the only experience of all times, but in reality, it is not only for death to write death, but to manifest the meaning of existence. Meaning, the value of life, highlights the strong tension of the will of life. In his view, the most important thing is not the irresistible nature of the consciousness of death, but the beauty of the lofty beauty of the human tragedy before death and the greatest value of life. Death is the negation of life, and this just strengthens the aesthetic value and significance of life. The denial of life has brought a glitzy beauty to death.
This article tries to interpret the process of the formation of Hemingway's "death consciousness" and its influence on his works, according to Freud's psychoanalytic theory and Hemingway's life experience full of legendary life, as well as the influence of Hemingway's "death consciousness", as well as his representative works of the different periods of Indian, the murderer, the sun. As usual, "farewell," farewell, weapon >, "the snow of Kilimanjaro" and "the old man and the sea" are based on the concrete connotation of the dead philosophy behind his works, and tries to understand and understand Hemingway and his works from a new angle.
The first chapter first introduces Hemingway's life experience and his main works. Then it introduces the research background of this thesis and the research on the death consciousness in Hemingway's works both at home and abroad. Finally, it introduces the influence of Freud's psychoanalytic theory on Western literary criticism and Chinese literary criticism.
The second chapter expounds the three main theories of Freud's psychoanalytic theory, including consciousness and unconsciousness, personality structure (wood, ego and superego) and death instinct.
The third chapter expounds the formation process of Hemingway's death consciousness from three aspects. 1, the unconscious death concept formed by Hemingway's grandfather and father's "death" in his childhood. Two, Hemingway's influence on his death awareness during and after the world war. Three, in the middle and old age of Hemingway The deeper exploration of death and the influence of social environment on the consciousness of death.
The fourth chapter analyzes the development process of the death consciousness in Hemingway's works with Freud's personality structure theory. First, take the Indian camp, the murderer as an example, to explore the personality and the ego consciousness in Hemingway's works, reveal the fear of death in the early stage of Hemingway, and two, "rise above the sun as usual", "farewell, weapon" The two works, for example, explore the personality self consciousness in his works, and reveal Hemingway's indifferent and negative pessimistic attitude towards death in the war years. Three, taking the snow of Kilimanjaro, the old man and the sea as an example, to explore the personality superego consciousness in Hemingway's works, and to reveal a qualitative leap in Hemingway's "view of death". That is to go beyond death to eternity.
The fifth chapter analyzes the above six works with Freud's death instinct theory and explores the changes in the consciousness of death in Hemingway's works. First, in the Indian camp and the murderer, Hemingway is full of childlike innocence about death. He thinks "he will never die". Two, in the sun, "rising > and" farewell, weapons > Hemingway's hero has gone through war (or Hemingway has gone through war and death), both physically and mentally, full of trauma. Hemingway fades the innocence of childhood and fantasies about life. He is brave ground against war and death, but feels lonely. He thinks that man can brave the ground. Three, in "the snow of Kilimanjaro" and "the old man and the sea", Hemingway not only dared to face death, but also believed that human beings were in the dominant position. Although human beings could not conquer death, they could overcome death in spirit and realize the value of life.
The sixth chapter is the conclusion of the thesis. According to Freud's psychoanalytic theory, the reinterpretation of "the consciousness of death" in the works of Hai Ming Cheng has a more profound understanding of the death philosophy behind Hemingway's works. Hemingway shows a transcendent attitude and a realm of dignity for life and death. He believes that everyone should be brave. Dare to look directly at death, overcome the fear of death, to maximize the value of life and existence. This is the beauty and dignity of death. In this way, human beings have conquered death, become the masters of death, and realize the value of life.
【學(xué)位授予單位】：長(zhǎng)江大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：I712.074

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本文編號(hào)：2000397