艺术中的原型与灵魂自救
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摘要
科技理性的片面发展引发了现代人的心灵危机,荣格深感现代社会人们诸多的生存困惑和精神危机,故对人的内心世界十分关注。而人类心灵的奥秘是难以用科学来简单地加以条分缕析的,其根源可以回溯到远古洪荒时代,这可以说是荣格原型研究的立足点。荣格认为原型是人类与生俱来的一种典型的领悟模式;原型体现在艺术中,是艺术家运用象征的手法,通过激活原始意象来显现、传承的;文学的本质就在于表现集体无意识。荣格认为由于现代艺术及远古神话体现了这一原始意象,可以抚慰人的精神,拯救人的灵魂,使人重返故里、重返童贞。
本文运用荣格原型理论的基本精神,分析了日本著名作家大江健三郎的作品,认为他的作品中活跃着一系列的原型意象。本文主要挖掘并具体分析了阴影、再生、父亲三个原型及其相关影响。阴影原型表现为他对现实社会人性丑恶的种种揭露和清醒认识;再生原型响彻着他寻求人性的复苏,要求自我价值的呼唤;父亲原型就负载着他对人类那不可测命运慨叹,表现了人类在强大灾难面前的巨大忍耐与牺牲精神,并显示人类经受磨练,寻求光明的坚强足迹。本文在此基础上,认为荣格和大江虽然生活的时代、国家及研究领域不同,但他们的研究目的是相同的,即都是从事着关注现代人灵魂健康的事业。他们希望在这个科技理性极度发达,而精神却极度空虚的现代社会,帮助现代人摆脱精神上的迷惘与无助,重返灵魂深处寻回失落的生活意义。
一个道德滑坡、精神贫乏和人性危机的时代,往往引发个人心灵的变异和扭曲。对荣格和大江“关注灵魂健康”的人道主义的哲学思想的研究和思考具有重要意义,它让人们重新认识自身所处的社会和时代,重新关注自己内心的健康。只有拥有健康、和谐的内心世界的现代人,才能创造出一个健康、和谐的现代社会。
The unilateral development of scientific rationality brings spiritual crisis to the modern people. Being perceived deeply to the subsistence perplexities and spiritual crisis of people in modern society. Jung pays close attention to human being’s inner world. The standpoint of Jung’s archetypal studies is that the mystery of human being’s spirit cannot be analyzed simply by science, whose origin can be tracked to remote flood antiquity. Jung regards that archetype is an inherent and typical apperceptive modal of human. Archetype, in the art, is shown and inherited by activating original images in symbolic means. He thinks that the nature of literature lies in expressing collective unconscious. According to Jung’s opinion, the modern arts and ancient myths can express the original imago, it could comfort people’s spirit, rescue people’s soul and help people return to their homeland and virginity.
In this article, the author tries to use the basic spirit of Jung’s archetypal theories to analyze the works of Kenzaburoōe, a famous Japanese writer, and considers that his works full of a series of original images. The author mainly seeked and analyzed three archetypes, shadow, regeneration and father, and their relative influences. The shadow archetype expresses his expose and realization of the ugly nature of human in real society.The regeneration archetype shows his exploring the resurrection of human nature and calling the self-value.The father archetype, including his exclaimation of the unexpected fate of human beings, expresses human being’s great endurance and immolation when facing the great calamities, and presents the strong footprints of human being’s going through the hoops and seeking the light. In addition, the author thinks though Jung and Kenzaburoōe lives in different ages and countries and have different research areas, they still have the same research purpose, that is to say, they are both engaged in following with the health of modern people’s soul. They hope to help to free modern people from the spiritual perplexity and helplessness, and return to the innermost soul to seek the lost living significance.
An era in which morality falls back, spirit is in short and human nature is in peril,often causes individual spirit to be deformed, so it is of great significance to study the humanistic philosophical thoughts of Jung and Kenzaburoōe, which pay close attention to the health of the human being’s soul. It makes people reconsider the society and the era they are living in and pay attention to the health of their own innermost world again. Because only those modern people who has healthy harmonious innermost world can create a healthy and harmonious modern society.
本文运用荣格原型理论的基本精神,分析了日本著名作家大江健三郎的作品,认为他的作品中活跃着一系列的原型意象。本文主要挖掘并具体分析了阴影、再生、父亲三个原型及其相关影响。阴影原型表现为他对现实社会人性丑恶的种种揭露和清醒认识;再生原型响彻着他寻求人性的复苏,要求自我价值的呼唤;父亲原型就负载着他对人类那不可测命运慨叹,表现了人类在强大灾难面前的巨大忍耐与牺牲精神,并显示人类经受磨练,寻求光明的坚强足迹。本文在此基础上,认为荣格和大江虽然生活的时代、国家及研究领域不同,但他们的研究目的是相同的,即都是从事着关注现代人灵魂健康的事业。他们希望在这个科技理性极度发达,而精神却极度空虚的现代社会,帮助现代人摆脱精神上的迷惘与无助,重返灵魂深处寻回失落的生活意义。
一个道德滑坡、精神贫乏和人性危机的时代,往往引发个人心灵的变异和扭曲。对荣格和大江“关注灵魂健康”的人道主义的哲学思想的研究和思考具有重要意义,它让人们重新认识自身所处的社会和时代,重新关注自己内心的健康。只有拥有健康、和谐的内心世界的现代人,才能创造出一个健康、和谐的现代社会。
The unilateral development of scientific rationality brings spiritual crisis to the modern people. Being perceived deeply to the subsistence perplexities and spiritual crisis of people in modern society. Jung pays close attention to human being’s inner world. The standpoint of Jung’s archetypal studies is that the mystery of human being’s spirit cannot be analyzed simply by science, whose origin can be tracked to remote flood antiquity. Jung regards that archetype is an inherent and typical apperceptive modal of human. Archetype, in the art, is shown and inherited by activating original images in symbolic means. He thinks that the nature of literature lies in expressing collective unconscious. According to Jung’s opinion, the modern arts and ancient myths can express the original imago, it could comfort people’s spirit, rescue people’s soul and help people return to their homeland and virginity.
In this article, the author tries to use the basic spirit of Jung’s archetypal theories to analyze the works of Kenzaburoōe, a famous Japanese writer, and considers that his works full of a series of original images. The author mainly seeked and analyzed three archetypes, shadow, regeneration and father, and their relative influences. The shadow archetype expresses his expose and realization of the ugly nature of human in real society.The regeneration archetype shows his exploring the resurrection of human nature and calling the self-value.The father archetype, including his exclaimation of the unexpected fate of human beings, expresses human being’s great endurance and immolation when facing the great calamities, and presents the strong footprints of human being’s going through the hoops and seeking the light. In addition, the author thinks though Jung and Kenzaburoōe lives in different ages and countries and have different research areas, they still have the same research purpose, that is to say, they are both engaged in following with the health of modern people’s soul. They hope to help to free modern people from the spiritual perplexity and helplessness, and return to the innermost soul to seek the lost living significance.
An era in which morality falls back, spirit is in short and human nature is in peril,often causes individual spirit to be deformed, so it is of great significance to study the humanistic philosophical thoughts of Jung and Kenzaburoōe, which pay close attention to the health of the human being’s soul. It makes people reconsider the society and the era they are living in and pay attention to the health of their own innermost world again. Because only those modern people who has healthy harmonious innermost world can create a healthy and harmonious modern society.
引文
[1](瑞士)荣格.分析心理学的理论与实践[M]. 成穷、王作虹译.上海:三联书店,1991.
[2](瑞士)荣格.荣格文集——让我们重返精神的家园[M]. 冯川、苏克译.北京:改革出版社.1997.
[3] 张冰.原型重释——对当下原型意义的一点补充[J].辽宁师范大学学报(社会科学版),2003,26(4).
[4] 荣格.心理学与文学[M]. 冯川、苏克 译.上海:三联书店,1987.
[5](瑞士)荣格.探索心灵奥秘的现代人[M].黄奇铭译.北京:社会科学文献出版社,1987.
[6](瑞士)荣格.心理类型学[M]. 吴康、丁传林、赵善华译.西安:华岳文艺出版社,1989.
[7] 胡经之 主编.西方文艺理论名著教程(下)[M]. 北京:北京大学出版社,1989.
[8] 朱立元主编.现代西方美学史[M]. 上海:上海文艺出披社,1996.
[9] 程金城.原型批判与重释[M].上海:东方出版社,1998.
[10] 梁宗岱.梁宗岱文集(III 译诗卷)[C].北京:中央编译出版社,2003.
[11] 梁宗岱.象征主义,见《诗与真》*诗与真二集[M].外国文学出版社,1984.
[12] 叶舒宪.神话—原型批评[M].西安:陕西师范大学出版社,1987.
[13] 江曾培,郝铭鉴主编.文艺鉴赏大成[Z].上海:上海文艺出版社,1988.
[14] 庄新红.荣格心理原型理论观照之下《红字》另解[J].山东社会科学,2004,106(6).
[15] 刘耀中、李以洪. 建造灵魂的宙宇——西方著名心理学家荣格评传[M]. 北京:东方出版社出版,1996.
[16](英)威廉?布莱克.布莱克诗集[M]. 张炽恒译.上海:上海三联书店.
[17](日)大江健三郎.万延元年的足球队[M].于长敏,王新新译.北京:光明日报出版社.1995.
[18]涂险峰.大江健三郎小说与现代文明的危机[J].武汉大学学报(哲学社会科学版),1997,(4).
[19](美)霍尔等.荣格心理学入门[M]. 冯川译.上海:三联书店,1987.
[20] (波兰)科西多夫斯基. 张会森、陈启民译.圣经的故事[M].北京:新华出版社,1984.
[21] 叶舒宪.英雄与太阳——中国上古史诗的原型重构[M].上海:上海社会科学院出版社.
[22] 爱德华?泰勒.原始文化[M].上海:上海文化出版社,1992.
[23] 日本书纪 (上册)[Z].岩波书店,1967.
[24](日)大江健三郎.小说的方法[M]. 王成、王志庚等译.河北:河北教育出版社,2001.
[25] 朱福芳.《俄狄浦斯王》中的神话和父亲原型[J].山东农业大学学报(社会科学版)2004,6(4).
[26] Robert H.Hoecke 著.导读荣格[M]. 蒋韬 译.台湾:立绪文化事业有限公司.
[27] (日)大江健三郞. 个人的体验[M]. 王中忱 译.北京:光明日报出版社,1995.
[28](英)威廉?布莱克 .天真与经验之歌[M]. 杨苡 译. 湖南:湖南人民出版社,1988.
[29](瑞士)荣格 等著.人类及其象征[M].张举文、荣文库 译.辽宁:辽宁教育出版社出版,1988.
[30](瑞士)荣格.《回忆?梦?思考》——荣格自传[M]. 刘国彬,杨德友译.辽宁:辽宁人民出版社,1988.
[31] 胡立新,李吉勇. 荣格“集体无意识积淀内容”辨疑及启示[J].湖北师范学院(哲学社会科学版),2005,25(5).
[32] 祝菊贤. 荣格的无意识、原型理论与马克思主义的艺术反映论[J].宝鸡文理学院学报(哲学社会科学版),1995,53(2).
[33] Stephen Segaller and Merrill Berger著.《梦的智慧》——荣格的世界[M]. 龚卓军,曾广志,沈台训 译. 台湾:立绪文化事业有限公司出版.
[34] 弗莱.批评的剖析[M]. 陈惠等译.上海:百花文艺出版社,1998.
[35](德)尼采.悲剧的诞生[M]. 周国平译.上海:三联书店,1986.
[36] 沈燕.重返精神的家园——荣格的集体无意识与美学思想[D].安徽大学,2003.
[37] (日)大江健三郞.《我在暧昧的日本》许金龙 译. 见:个人的体验[M]. 王中忱译.北京:光明日报出版社,1995.
[38](日)大江键三郎. 灵魂与表现——三十八年的文学生活[N] .读卖新闻,1994-10-14(早刊).
[39](日)大江健三郎.我的文学之路大江健三郎访谈录[J]. 于进江译.小说评论,1995:(2).
[40](日)大江健三郎. <占梦师>,见:死者的奢华[M].王中忱译 .北京:光明日报出版社,1995.
[41] 叶渭渠.日本文学思潮史[M].上海:经济日报出版社,1997.
[42](日)大江健三郎.迟到的青年[M].王新新等译.河北:河北教育出版社,2001.
[43] 周长才. 大江西去——写在大江健三郞获得诺贝尔文学奖之后[J].外国文学,1995:(1).
[44](日)大江健三郎.核时代的森林隐士[M].见《大江健三郎作品精选集》,杨炳辰、王新新译.桂林:漓江出版社,1999.
[45] W.B. 叶芝著.朝圣者的灵魂[M].王家新编选,裘小龙译.上海:东方出版社,1996.
[46] 黄辉.边缘·森林·神话——大江健三郎“边缘民间文化观”探微[D] . 湘潭大学,2003.
[2](瑞士)荣格.荣格文集——让我们重返精神的家园[M]. 冯川、苏克译.北京:改革出版社.1997.
[3] 张冰.原型重释——对当下原型意义的一点补充[J].辽宁师范大学学报(社会科学版),2003,26(4).
[4] 荣格.心理学与文学[M]. 冯川、苏克 译.上海:三联书店,1987.
[5](瑞士)荣格.探索心灵奥秘的现代人[M].黄奇铭译.北京:社会科学文献出版社,1987.
[6](瑞士)荣格.心理类型学[M]. 吴康、丁传林、赵善华译.西安:华岳文艺出版社,1989.
[7] 胡经之 主编.西方文艺理论名著教程(下)[M]. 北京:北京大学出版社,1989.
[8] 朱立元主编.现代西方美学史[M]. 上海:上海文艺出披社,1996.
[9] 程金城.原型批判与重释[M].上海:东方出版社,1998.
[10] 梁宗岱.梁宗岱文集(III 译诗卷)[C].北京:中央编译出版社,2003.
[11] 梁宗岱.象征主义,见《诗与真》*诗与真二集[M].外国文学出版社,1984.
[12] 叶舒宪.神话—原型批评[M].西安:陕西师范大学出版社,1987.
[13] 江曾培,郝铭鉴主编.文艺鉴赏大成[Z].上海:上海文艺出版社,1988.
[14] 庄新红.荣格心理原型理论观照之下《红字》另解[J].山东社会科学,2004,106(6).
[15] 刘耀中、李以洪. 建造灵魂的宙宇——西方著名心理学家荣格评传[M]. 北京:东方出版社出版,1996.
[16](英)威廉?布莱克.布莱克诗集[M]. 张炽恒译.上海:上海三联书店.
[17](日)大江健三郎.万延元年的足球队[M].于长敏,王新新译.北京:光明日报出版社.1995.
[18]涂险峰.大江健三郎小说与现代文明的危机[J].武汉大学学报(哲学社会科学版),1997,(4).
[19](美)霍尔等.荣格心理学入门[M]. 冯川译.上海:三联书店,1987.
[20] (波兰)科西多夫斯基. 张会森、陈启民译.圣经的故事[M].北京:新华出版社,1984.
[21] 叶舒宪.英雄与太阳——中国上古史诗的原型重构[M].上海:上海社会科学院出版社.
[22] 爱德华?泰勒.原始文化[M].上海:上海文化出版社,1992.
[23] 日本书纪 (上册)[Z].岩波书店,1967.
[24](日)大江健三郎.小说的方法[M]. 王成、王志庚等译.河北:河北教育出版社,2001.
[25] 朱福芳.《俄狄浦斯王》中的神话和父亲原型[J].山东农业大学学报(社会科学版)2004,6(4).
[26] Robert H.Hoecke 著.导读荣格[M]. 蒋韬 译.台湾:立绪文化事业有限公司.
[27] (日)大江健三郞. 个人的体验[M]. 王中忱 译.北京:光明日报出版社,1995.
[28](英)威廉?布莱克 .天真与经验之歌[M]. 杨苡 译. 湖南:湖南人民出版社,1988.
[29](瑞士)荣格 等著.人类及其象征[M].张举文、荣文库 译.辽宁:辽宁教育出版社出版,1988.
[30](瑞士)荣格.《回忆?梦?思考》——荣格自传[M]. 刘国彬,杨德友译.辽宁:辽宁人民出版社,1988.
[31] 胡立新,李吉勇. 荣格“集体无意识积淀内容”辨疑及启示[J].湖北师范学院(哲学社会科学版),2005,25(5).
[32] 祝菊贤. 荣格的无意识、原型理论与马克思主义的艺术反映论[J].宝鸡文理学院学报(哲学社会科学版),1995,53(2).
[33] Stephen Segaller and Merrill Berger著.《梦的智慧》——荣格的世界[M]. 龚卓军,曾广志,沈台训 译. 台湾:立绪文化事业有限公司出版.
[34] 弗莱.批评的剖析[M]. 陈惠等译.上海:百花文艺出版社,1998.
[35](德)尼采.悲剧的诞生[M]. 周国平译.上海:三联书店,1986.
[36] 沈燕.重返精神的家园——荣格的集体无意识与美学思想[D].安徽大学,2003.
[37] (日)大江健三郞.《我在暧昧的日本》许金龙 译. 见:个人的体验[M]. 王中忱译.北京:光明日报出版社,1995.
[38](日)大江键三郎. 灵魂与表现——三十八年的文学生活[N] .读卖新闻,1994-10-14(早刊).
[39](日)大江健三郎.我的文学之路大江健三郎访谈录[J]. 于进江译.小说评论,1995:(2).
[40](日)大江健三郎. <占梦师>,见:死者的奢华[M].王中忱译 .北京:光明日报出版社,1995.
[41] 叶渭渠.日本文学思潮史[M].上海:经济日报出版社,1997.
[42](日)大江健三郎.迟到的青年[M].王新新等译.河北:河北教育出版社,2001.
[43] 周长才. 大江西去——写在大江健三郞获得诺贝尔文学奖之后[J].外国文学,1995:(1).
[44](日)大江健三郎.核时代的森林隐士[M].见《大江健三郎作品精选集》,杨炳辰、王新新译.桂林:漓江出版社,1999.
[45] W.B. 叶芝著.朝圣者的灵魂[M].王家新编选,裘小龙译.上海:东方出版社,1996.
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