个体与集体的共同悲剧—鲁迅《祝福》和伊巴涅斯《茅屋》中的集体无意识Common tragedy: individual and collective blessing "and" Lu Xun "cottage" in Barro's collective unconscious 摘要:（摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） 本文旨在剖析鲁迅师长教师的短篇小说《祝愿》(1924)和西班牙作家文森特布拉斯科伊巴涅斯（Vicente Blasco Ibá ez）的中篇小说《茅舍》（La barraca,1925）中隐蔽的配合主题--个人有意识，和其为小说中的小我和群体带来的喜剧。文章的第一章起首了了了个人有意识的概念和在本文中的运用规模。个人有意识的概念基于佛洛依德精力剖析学派的“有意识”实际，最早由古斯塔夫荣格提出，以精力剖析的措施摸索文学艺术，以为个人有意识组成人的深层精力世界，“构成一种超出特性的配合心思基本”。以后“个人有意识”一词被普遍用于社会生涯中。另外还说明了作为“个人有意识的内容”被提出的“原型”概念，后经弗莱成长成为原型批驳的主要实际根据。第二章引见鲁迅和伊巴涅斯两位作者。作为中西两国的文学泰斗，他们都具有激烈的社会和人文关心，愿望经由过程文字反应实际、转变实际；别的，偶合的是鲁迅是最早几位将伊巴涅斯引见到中国的作家之一，伊巴涅斯也是60年月少有的具有中国情结的西班牙作家。以后概述了两部小说的重要内容和社会配景，西语专业论文，为下文的剖析做好铺垫。以后进入文章的主体部门。第三章侧重剖析两部小说中配合出现的个人有意识和个人和个别之间发生的抵触抵触：终究个别自愿由辛苦仁慈的通俗休息者变成“叛徒”，冒犯了个人有意识中的某一忌讳，并终究被驱赶出个人。随后指出这其实不仅仅是个人有意识形成小我的喜剧，现实上个人并未认识到这一个别与本身并没有两样，西语论文网站，这就形成了个别和个人的两重喜剧性。最初一部门将眼光转向著作的文学性，重要剖析著作在表示个人有意识及其形成的喜剧时所运用的写作手段和论述手腕。 Abstract: This paper aims to analyze the Mr. Lu Xun's short story "wish" (1924) and Spanish writer Vincent Blasco Ibanez Vicente Blasco IB, EZ) novella "cottage" (LA Barraca, 1925) in covert with the theme of individual consciousness, and the stories of individuals and groups comedy. In the first chapter, first the concept of personal consciousness and the application of the scale in this paper. Concept of personal consciousness based on Freudian energy analysis of the school of "consciousness", first proposed by Gustav Jung, by energy analysis method for exploration of literature and art, that individuals have group consciousness adult deep spiritual world, constitute a beyond characters with synthetic basic thought ". After the "personal consciousness" has been widely used in social life. Also described as "individual conscious content" was put forward in the "prototype" concept, after Frye grew to become the main practical according to prototype criticism. The second chapter of Lu Xun and Barro two authors. As the two countries of Chinese and Western literary greats, they all have the intense social and humanistic concern and desire via text to reflect the actual, the actual shift; in addition, the coupling is Lu Xun is the earliest several the Ibanez introduced to one of the Chinese writers, Ibanez is 60 years less some with Chinese complex Spanish writer. After summarized the important content and the social background of the two novels, pave the way for the following analysis. After entering the main department. The third chapter analysis focused on the two novels with the emergence of personal consciousness and personal and individual between conflicting information: after all, individual voluntary by the hard kind of popular break into a "traitor" offended the individual consciousness of a taboo, and was eventually expelled from the people. Then pointed out that this is not only a personal ego consciousness comedy reality, individuals do not realize it and the individual itself is not two, the formation of individual and individual double comedy. The original literature section will turn to the works and important works in personal consciousness analysis and the formation of the application by means of writing and comedy on the wrist. 目录: Agradecimientos 4-5 中文简介 5 Resumen 6-9 Introducción 9-12 Capítulo 1 Marco teórico: la crítica psicoanalítica, el inconsciente colectivo y el arquetipo 12-21 1.1 La crítica psicoanalítica 12-14 1.2 El inconsciente colectivo y el arquetipo 14-19 1.2.1 El inconsciente colectivo 14-17 1.2.2 El arquetipo 17-19 1.3 Usos de los términos 19-21 Capítulo 2 Corpus de las dos novelas 21-33 2.1 Sobre los dos autores 21-28 2.1.1 Lu Xun y Vicente Blásco Ibá ez: escritores maestros y comprometidos 21-26 2.1.2 Interculturalidades curiosas: Espa a para Lu Xun y China para Ibá ez 26-28 2.2 Sobre las dos obras 28-33 2.2.1 Sinopsis y trasfondos históricos de El sacrificio de A o Nuevo 28-30 2.2.2 Sinopsis y trasfondos históricos de La barraca 30-33 Capítulo 3 Los conflictos entre el colectivo y el individuo en las dos novelas 33-56 3.1 Batiste y La mujer de Xiang Lin 33-46 3.1.1 La misma identidad: forastero pobre en un peque o pueblo 33-36 3.1.2 Desviados al acuerdo tácito colectivo 36-39 3.1.3 Luchadores para vivir 39-44 3.1.4 Expulsados del colectivo 44-46 3.2 La huerta de Alboraya y el pueblo de Luzhen 46-56 3.2.1 El personaje colectivo 46-49 3.2.2 Los representantes en el colectivo 49-52 3.2.3 La inconsciencia del colectivo sobre su propia tragedia 52-56 Capítulo 4 La creación de las tragedias 56-71 4.1 Aspectos narrativos 56-61 4.1.1 La voz narrativa 56-58 4.1.2 El tiempo 58-59 4.1.3 El espacio 59-61 4.2 Los símbolos y el arquetipo 61-67 4.2.1 El sacrificio en El sacrificio de a o nuevo 61-63 4.2.2 La barraca en La barraca 63-66 4.2.3 El modelo de Esperanza- desilusión- derrumbe como arquetipo 66-67 4.3 Las técnicas narrativas 67-71 4.3.1 Antítesis 67-69 4.3.2 Peripecia 69-71 Conclusiones 71-73 Bibliografía 73-75 |
