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Of all the great dualities of human experience, >good and evil< have been the most instrumental in shaping the beliefs, rituals, and laws of >Homo sapiens<. The polarization of our nature into >good and bad< and anthropomorphic externalizations of these impulsions have been with us for millennia, providing inspiration for magical rites, representational forms, and the cornucopia of dramas, narratives, and artworks to which they give expression. Furthermore, whereas all religions advocate for good, the particular narratives of evil underlying the traditions of Western culture come to us from the Bible. However, good and especially evil are theological and moral, not psychological, constructs. With Freud's death instinct, and later Fromm's necrophilous character, the darker shadow of human nature became definitively secularized. After an introduction and historical/developmental overview of select theorists, this paper adopts a strictly psychoanalytic frame of reference in the exploration of what renders some human beings capable of doing inhuman things. Looking at behaviors manifesting through the psychodynamics of character structure and severe personality disorders, the breakdown of empathy and defacement of the >other< in the creation of an enemy is discussed. In conclusion two clinical portraits are offered, illustrating how primitive emotions and defenses, superego pathology, and latent schizoid, narcissistic, and projective mechanisms provide fuel and rationalization for malignant aggressive, duplicitous, and sadistic behaviors.
20世纪二三十年代是俄罗斯反乌托邦小说兴起和快速发展的阶段。诞生于1921年的扎米亚京的《我们》不仅被称之为反乌托邦文学的开山之作,更是俄罗斯反乌托邦文学的奠基石。尽管在当时它被认为是>不合时宜<的,但是随着历史的发展,作品的珍贵价值正逐渐地被突显出来。鉴于扎米亚京和这部作品在俄罗斯文坛的重要地位和深远影响,以及反乌托邦文学体裁的独特艺术魅力,本文将再一次走进《我们》那瑰丽的艺术世界。论文共分为七个部分,引言部分主要介绍了反乌托邦文学产生的历史背景和发展的脉络;第一章着重分析《我们》创作背景、文学地位和价值;第二章到第五章分别从时空、主题、悖论、人的异化四个层面深入探索小说《我们》精彩纷呈的艺术世界:1、反乌托邦时空;2、>反方案<的主题;3、>荒谬而又真实<的悖论;4、>我们<的异化。结尾部分全面总结了《我们》所营造的独特的艺术世界。文中更是用弗洛姆自由论、马斯洛人类需求阶级理论来诠释《我们》作为反乌托邦文学的必然性,充分展示了扎米亚京《我们》这篇反乌托邦文学楚翘创作的独特视角和艺术魅力。