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By applying Erich Fromm’s theory of alienation and psychological analysis, this thesis explores the idea of alienation and the cause of tragedy in Arthur Miller’s early plays, >All My Sons<, >Death of a Salesman<, and >A View from the Bridge<. The adoption of Erich Fromm’s theory of alienation is based on Miller’s concern with the phenomenon of alienation in American society. On the one hand, the thesis discusses how the symbiotic relationship between man and society is undermined by historical movement and as a consequence how it affects man’s idea of morality and sense of identity by reviewing the particular American history during the time of the Depression and the wars (particularly the Second World War and the Cold War). On the other hand, the thesis discusses how personal fantasy contributes to one’s destiny by making uncompromised commitment to private beliefs as a counterpart of reality.– First of all, the thesis reviews the historical events that shape American experiences of alienation. Economically, the Depression not only exemplifies that everyone is closely related with the society and other human beings, but also implies the illusion embedded in the American Dream. Economic development does not guarantee human beings freedom but conditions men in an alienated position because of its advocacy of liberalism and individualism. The perversion of work ethic, particularly, defines man and directs them to seek self-interest. Politically, the Second World War and the Cold War make man retreat into a world of containment, separating self from the other. Accordingly, in Arthur Miller’s dramatic world, characters attach more importance to family business and family welfare. Then the thesis discusses how human psyche is equal in importance in sealing one’s fate. Although the environment provides the physical basis for practice and action, personal fantasy has a life of its own and therefore becomes a scene for dramatic actions. The point is that neither social codes nor personal ideals ensure a secure sense of identity. In contrast, one-sided indulgence in psychological world alienates man further from society and others. Social sense of identity and personal sense of identity becomes oppositional. Finally, the thesis holds that Miller conveys a message of hope of reconciliation, i. e., man represented by secondary roles in the three plays have the strength and freedom to change the status quo.– This thesis differs from previous studies in the following aspects. First of all, this thesis does not limit the scope of alienation to economic and political field but extends to human psyche, revealing that both the private and the public contribute to Arthur Miller’s tragedy. Secondly, this thesis explores the symbiotic relationships between man and society, pointing out that socially individual experience is the shaping force of human history. In Arthur Miller’s plays, the major characters have certain fantasy with its own life that finally forms the circumference around which dramatic conflicts become possible. The transformational relationship between scene and agent vindicates the combining force of society and psychology to realize Miller’s tragedies. The thesis concludes that Miller indicates one possible way out from the present dilemma of alienation, a characteristic of Arthur Miller’s early period of writing, because the author shows strong faith in humanity by presenting the sympathetic, integral and forgiving secondary characters. [Translation: www.cnki.net, 4/2023]
远藤周作(1923—1996)是日本当代著名的基督教作家。他的作品以艺术形式探讨神与人、信仰与人生、死与生等宗教主题,其长篇小说中的人物形象亦呈现出立体而复杂矛盾的性格特点。本文选取远藤周作的三部长篇小说《丑闻》《恶灵》及代表作《深河》为中心文本,试图以心理学的角度去阐释小说中人物的>双重人格<,揭示个体心理潜伏的阴暗欲望的表现和危害,进而探讨人物的救赎问题。论文首先分析作品中具有双重人格的四个人物形象:《丑闻》《深河》中共同具有>天使<与>恶魔<复杂人格的两位女性>万里子<和<美津子<;《丑闻》中所谓的>圣徒作家<胜吕本质上是一个经常出入色情场所的下流之徒;《恶灵》中利用>天使<面孔去引诱他人作恶、犯罪的>恶灵<南条英子。其次运用现代心理学理论探讨>双重人格<形成的原因。个体为了更好地在社会上生存,往往隐藏和压抑内心中阴暗、丑陋的欲望,即荣格所说的>阴影面<,向社会展现出美好的一面,这便形成了>双重人格<。三部小说中双重人格人物的>阴影面<与弗洛姆提出的>衰败综合症<中的>恋死<相关,因此结合文本加以分析。此外,在文学层面上,以莫里亚克作品中对罪与恶的理解,陀思妥耶夫斯基小说中复杂的人性来阐述其对远藤作品的影响。最后通过人物的命运走向探寻救赎之路。小说中的人物在>光<与>河<中认识了自我,灵魂得到净化,重新找寻到了人生的价值和意义。其中,>光<与>河<象征着给人拯救的>爱<。但是,仅凭被动地接受>爱<是不够的,个体还需要有>直面自我的勇气<,才能获得真正的救赎。远藤周作敏锐地看到了现代人为能够更好地在社会中生存,不得不压抑内心真实的欲望,以此符合社会的标准和期待,造成精神枯竭、破裂的问题。通过双重人格艺术形象的塑造,远藤试图告诉我们:个体要勇于发现内心隐藏的欲望,认识真实的自我,才能实现精神的统一和完整,从而达到荣格所说的>重返精神家园<。
卢卡奇开辟的西方马克思主义道路为后来的马克思主义者提供智性动力,葛兰西、阿尔杜塞、普兰查斯、拉克劳和墨菲等将隐喻式的>基础—建筑<诠释为符号学意义上的语言生产模式。而法兰克福学派的赖希、马尔库塞和弗洛姆则将马克思主义和弗洛伊德主义结合起来,展开马克思主义语言哲学的欲望政治研究。想象一种语言就是想象一种生命,语言与生命须臾不可分离,后马克思主义者如阿甘本、哈特和奈格里等则将语言生产模式和欲望生产模式推进到生物生产模式,即考察后现代语境下人类社会的生命权力,甚至人体内部的生物权力。无论是语言生产还是欲望政治都是生命权力的外在表现形式,对身体从外到内或从身体到生命,即从生命权力到生物权力的范式转换,才是马克思主义语言哲学的终极关怀。