TY - GEN A1 - Luan, Tao T1 - Existential Tragedy of the Family – Analysis of Faulkner‘s Novel >The Sound and the Fury< [家族生存悲剧 - 解析福克纳小说《喧哗与骚动》], Master thesis, English Language and Literature, Northeast Forestry University, Harbin, Heilongjiang, China 2007. [Application of Fromm's theories to art]. N2 - In 1929, William Faulkner instantly became a renowned author after the publication of his masterpiece of >The Sound and the Fury< of the novel is a tragedy about the quad faces covering of human being's existence. Of the protagonists lose the essence of life because of ignoring the quad faces covering of existence. The thesis applies Sartre's ontology of freedom, Heidegger's death phenomena, and Fromm and Marx's alienation as the surest proof to explicate quintessence of tragedy, in order to explore the tragic interior worlds of the Compsons' existence. The thesis is divided into five parts by applying the three theories.– The first part presents a short introduction to southerners' existential predicaments after the American Civil War, and the interplay between Faulkner's philosophical ideas and existentialism.– The second part tries to pinpoint that tragedy reveals human existential predicaments. Anguish arises from the contradiction between ideals and impossible reality, which begets conflicts in individuals' plight; the inevitability of conflicts and irresistibility of misfortunes give rise to tragedy. Three correlated existential tragedies form the core of the Compsons' plight: spiritual tragedy, social tragedy, and ontological tragedy. Fromm's social alienation is exhibited in the Compsons' tragedy, that is, social alienation and alienation of traditional concept. Narcissism, Oedipus complex, masochism and sadism represent spiritual tragedy.– In part three, the thesis will center on the relationship of freedom , responsibility and situation with ontological choice to interpret the Compsons' tragedy. It elaborates on the reasons of the tragic ending, pointing out that escaping responsibility and bad choice are the causes of the Compsons' tragedy. >Being-in-itself< and >Being-for-itself< are the interdependent combination as for Sartrean ontology. Under the threat of freedom and responsibility, the Compsons fall into self-deceptive state of mind dominated by psychology of escape. They forfeits >Being-for-itself< and exists on the level of >Being-in-itself<, which is the mode of Being of object with no sense of free consciousness and responsibility. In bad faith, they conceal the truth and cannot get out of the nothingness. In concrete relations with the other, the Compsons ferment attitudes of indifference, desire, hate and sadism against attitudes of love and masochism. They present tragic existential state of >hell is the other people< distinctively. Absolute freedom and irresistible misfortunes fall upon the heroine in a situation. Her bad choice brews her tragic plight.– In part four, tragedy concerns death, and being grants authentic >Being-Towards-Death< significance. The thesis maps out the actual course of Being-Towards-Death as is exhibited in the Compsons' tragedy: that is, >conscience< and >anxiety< awaken Dasein from the falling and thrownness; >to be its Being<, >resolution<, >potentiality-for-Being<, >anticipation< are in interplay with Dasein's authentic >Being-Towards-Death<. The tragic protagonists experience death in >anticipation<. Death is present to Dasein from the beginning to the end, and then death awareness reveals itself automatically. Thus their tragedies are revealed. Heidegger draws a line between his primordial temporality and physical time. In primordial temporality, >future<, >having been< and >Present< are temporalizing in unity. The author of the thesis tries to expound on the tragic hero's death at some strength: 1. in temporality of anxiety, admittedly, the protagonist's temporal modalities of the >future< and the >Present< temporalize in the >having been<. The thesis highlights the fact that the protagonist holds on to the possibility of death, so he possesses the >future< in temporality. 2. The protagonist negates the mode of the >Present< in designs of returning to >repeatability< of thrownness and to the mode of >having been<. Ontological temporality reveals the protagonist instills meanings to the tradition he firmly pursues. Ultimately, the protagonist's suicide belongs to the tragedy of transcendence, which is transcending the boundary of death spiritually. He actualizes the pursuit of love and eternity. Suicide offers his retreat into spiritual primeval paradise in >having been<.– Part five is a conclusion, which underlines the central theme and significance of this tragedy. In addition to this, the author of the thesis stretches out the potentials for further study on this subject. N2 - 自1929年小说《喧哗与骚动》的出版,美国小说家威廉•福克纳立刻声名大振。该小说是一部关于人类存在意义的悲剧,主人公遮蔽了本真的自我,从而丧失生存的本质。运用萨特自由论、海德格尔死亡现象学、弗洛姆及马克思的异化理论对悲剧本质的揭示,目的是探索康普生家族悲剧的心理世界。论文分五个部分。本论文第一部分绪论简短地介绍了美国战后南方人的生存困境,以及福克纳创作的哲学思想与存在主义的关联。第二部分指出:悲剧产生于人自身的生存困境。生存困境中理想与现实矛盾痛苦性导致冲突,冲突的必然性和厄运降临无法控阻性导致悲剧的发生。生存悲剧有三种相互关联本质的展现,即社会悲剧、精神悲剧、人本体悲剧。弗洛姆的社会普遍异化理论在康普生家族生存得以体现:社会异化、传统观念异化。人本体的精神悲剧性表现为:自恋行为、恋母情节、施虐与受虐四个方面。第三部分指出:自由、责任与处境和生存选择的关系中产生悲剧。追溯了不承担责任和错误的生存选择是造成康普生家族生存悲剧的根源。萨特认为人的存在是>自在<与>自为<相互关联并依靠中存在。在自由和责任巨大压力下,主人公在逃避心理支配下,放弃>自为<演变成>自在<存在,没有自由意识、没有责任,在缺失灵魂的自欺状态中掩盖真相,即在虚无中生存。在爱与恨、冷漠、受虐和施虐情感强烈对峙作用下,家族凸显出>他人就是地狱<的悲剧生存状况。女主人公在绝对自由选择和厄运降临不可控阻处境中,造成错误的选择,酿成生存的悲剧。第四部分指出:悲剧关乎死亡,生存论给予本真>向死而在<以意义。文中揭示悲剧中呈现出的>向死而在<全过程,即>良知<、>畏<使此在从被抛的沉沦中觉醒,实现>去存在<、>决断<、>本己能在<、>先行到死<、而完成本真向死存在的关联。康普生家族悲剧主人公在>先行到死<中体验死亡,死亡始终在场并在死亡意识中时有显现,悲剧也同时产生。海德格尔的本源时间与物理时间相异,在本源的>时间性<中,将来、曾在与当前共同到时。作者辩明:1、在>畏的时间性<中无可质疑的证明主人公的存在>将来<和>当前<在>曾在<中到时,主人公的>时间性<中有>将来<(持守死亡的可能性)。2、主人公否定>当前<时间性,企图回到被抛>重演<的>曾在<时间性中,生存论的>时间性<揭示主人公的死亡,实为追求传统。主人公自杀是超越的悲剧,在精神上超越了死亡的界限:对爱的价值的追求、对永恒的追求。自杀死亡实现了回归>曾在<中的精神家园。第五部分是对全文的总结。这一部分突出了此次研究的主题和意义,同时还指出了在该领域研究发展的方向。 Y1 - 2007 ER -