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The paper first discusses two documentaries by Donna Read, >Signs Out of Time< (2004) and >Goddess Remembered< (1989), that focus on the pacific tradition of the female centered settlements on the territories of modern Eastern Europe in the Neolithic and Bronze Ages. Read depicts significant findings of a world-renowned archeologist Marija Gimbutas who claims that a peaceful image of Old Europe embodied in the omnipotent Great Mother changed radically towards the end of the third millennium when violent Indo-European nomads came from Russia and shattered the matriarchal utopia of equality and natural harmony. These tribes introduced the principles of hierarchy and violent male-rule. Read’s and Gimbutas’ findings are further developed and examined in the studies by Riana Eisler and Erich Fromm who also claim that conspicuous material aggrandizement of patriarchal culture severely damaged a blissful matriarchal bond between man and nature. These theoretical insights are applied to Williamson’s compre hension of nature vs. nurture issue in >Mary and the Seal< (1997). In portraying a tender relationship between Mary and the seal, as well as its tragic and totally unnecessary shooting, contemporary patriarchal culture is brought to a trial. The mere existence of the bond between Mary and the seal, an embodiment of an idyllic matriarchal unity between man and nature, testifies to the prevalent need for the return to its substantial but long-forgotten values. The theoretical insights of Graves, Althusser, Freire, Fiske and Miller will also be used in the interpretation of the story.
珍妮特·温特森(1959-)是当代英国著名作家,她的作品主题多样,既反应社会现实,又体现其理想追求。>爱<是温特森热衷于在作品中展现的主题,在《橘子不是唯一的水果》(1985),《写在身体上》(1992),以及《守望灯塔》(2004)这三部代表作品中,温特森用其细腻的笔触,哲学性的语言描绘了主人公之间的爱与关怀。但在>爱<的核心叙写之外,温特森也刻画了冷漠,疏离,虚伪的人物个性,同时展现了现代社会发展中的弊病。因此,本文旨在剖析上述三部作品对扭曲的人物,病态的社会的揭露,以及>爱<的艺术呈现,并探求温特森对现代社会中个体精神与生存畸变的洞悉,以及她通过>爱<这一永恒主题对走向救赎的人文主义思考.本论文以上述三部小说为研究对象,以埃里希·弗洛姆的人学思想为理论框架分为五章展开论述。第一章简要介绍温特森其人其文,在梳理文献的基础上提出本文的研究方向并阐释本文的理论框架。第二章重点剖析三部小说中人物的性格特征,指出其>非创发性<定向及其成因,进而揭示出社会中个体的精神畸变。第三章,论述现代社会的弊病使小说人物陷入生存的畸变,并分析其对同时代社会现实的影射意义,进而挖掘温特森对个体生存境况的质问与思考。第四章从>爱<的形式,表现及意义对三部作品中爱的>创发性<特征进行阐释,并探求此种>创发性<的爱与关怀如何能够在困境中走向救赎的彼岸。最后一章对该论文进行简要总结,指出温特以内在精神及外在生存为视角审视了个体在现代社会中的畸变与困境,并从>爱<的角度,以>创发性<的爱为解决之道,给出了自己的哲学思考,进而展现了温特森对生活在现代社会的个体的人文关怀。
吉本芭娜娜是日本当代著名作家。1988年处女作《厨房》让她一举成名。此后,《玛丽亚的沙发》《虹》等也深受读者的喜爱。她的作品往往从日常小事出发,以细腻的笔触生动再现当代年轻人颓废和不安的内心世界,与此同时还营造出舒适的治愈氛围。这使得吉本芭娜娜的作品深受读者的追捧。吉本芭娜娜一直致力于治愈现代人的身心,持续关注当代人的内心世界,是一个极具社会责任感和使命感的作家。中日两国对于吉本芭娜娜作品的研究均取得了丰硕的成果,但是对于她的旅行文学的研究却凤毛麟角。笔者还发现,吉本芭娜娜的作品深处与埃里希?弗洛姆的异化理论相有着相通之处。本文以《玛丽亚的沙发》《虹》《SLY》为研究对象,运用弗洛姆的异化理论,结合文本分析法,分析了吉本芭娜娜作品中旅人从>被异化<到>反省<再到最后完成自我的>重构<的过程,试图阐明吉本芭娜娜通过旅行所展现的现代文明的批判精神。本文一共由五章构成。序章介绍了研究动机、先行研究、研究立场、研究意义、研究目的以及研究方法。第一章,分析了被异化的旅人形象。从吉本芭娜娜的三部作品出发分析并明确了旅人与自己、与他人以及与自然逐渐疏离。笔者基于弗洛姆的>现代人异化于自己、异化于自然、异化于他人<的观点,进一步分析了被异化的旅人,并得出旅人已经不再是他本身,更甚至是已经不再是一个人,而成为一个>非人<的存在,异化无处不在,被异化的人也失去了应有的人性的结论。第二章,考察了旅行中旅人的反省,试分析旅人异化的原因。通过对>旅人与自然的关系<>旅人与社会的关系<>旅人自身<的反思,意识到被异化的原因是陷入了一种矛盾,即一方面为了追求利益等,抛弃自己的个性,主动与外界保持一致,另一方面又想要追求独立和自由。这是在旅行体验中,旅人回顾过去,自我反思的结果。弗洛姆认为,异化正是来自于人的存在所固有的矛盾。基于此,笔者进一步分析得出旅人异化的原因,即旅人基于生存环境所产生的欲求与现实满足不了这种欲求的矛盾。第三章,通过旅人的反省分析了旅人自身的重构。吉本芭娜娜作品中的旅人,反思异化的原因后,完成了家庭和个人的重构。即充满爱的、和谐的新式家庭,以及从事非功利性的、创造性的工作。弗洛姆认为>爱和创造性的劳动<是克服异化的唯一的积极主动的方式。吉本芭娜娜在这里给出了她对于克服异化,回归自我的解决办法,给我们的未来敲响了警钟,同时,也展现了一个具有社会责任感和使命感的作家形象。总而言之,吉本芭娜娜用细腻的笔触生动再现了被异化的旅人形象,但并未止步于此,而是进一步反思旅人异化的原因,并最终通过旅人的自我重构,向我们展示了作为一个人本身应有的生命力。吉本芭娜娜作品中的异化、反思、重构中蕴涵着其现代文明的批判精神
This paper was inspired by the documentary >The Act of Killing<, directed by an American-born, British filmmaker Joshua Oppenheimer and released in 2012. Provoked and appalled by what is described as one of the worst mass murders in the 20th century, the movie director focuses not so much on the crime itself but the perpetrators of the crimes and the ensuing consequences. A part from the need to bring to open and discuss this part of Indonesian history, as well as the consequences of the communist and subsequent anti-communist political rules, this paper deals, on the one hand, with the question and the essence of human nature capable of such monstrosity and on the other, with the role that art must take in understanding and healing of the open wounds in any nation’s history as well as individual perpetrators of the crimes. For this purpose, the ideological framework of Erich Fromm as given in his study >Anatomy of Human Destructiveness< and also philosophical ideas of Hanna Arendt, specifically concerning the nature of evil itself were used as theoretical framework.