《尼伯龙根之歌》与德意志民族心理之关系研究

发布时间：2018-05-03 11:50

本文选题：尼伯龙根之歌 + 德意志民族　；参考：《湘潭大学》2012年博士论文

【摘要】：中世纪英雄史诗《尼伯龙根之歌》被德国学界公认为德意志民族的“百科全书”，是深入认识德意志民族有效的素材和途径。《尼伯龙根之歌》自18世纪被重新发现以来，经历了比较研究、功能化研究和多元研究三个阶段。涉及民族心理学的《尼伯龙根之歌》研究目前散见于部分其他视角的研究成果，尚没有学者以此为对象进行全面、系统、深刻的专门研究。民族心理涉及的内容十分宽泛，《尼伯龙根之歌》主要表现了死亡意识、宗教意识、安全需求和性别角色四个方面的相关内容。在《尼伯龙根之歌》中，死亡意识主要体现在死亡审美价值和死亡价值取向两个方面。死亡审美属于表层意识，其根源在于死亡价值取向，二者的最终指向都是对死亡的恐惧和超越。作品中的死亡审美价值是以德意志民族的“乐生乐死”和“乐生恶死”死亡价值取向为基础的。《尼伯龙根之歌》几乎包括了德意志人宗教信仰从萌芽到发展的全过程。魔、英雄、人格神和超人格神反映了德意志民族的物质崇拜、英雄崇拜和神明崇拜。从崇拜对象、宗教情感和宗教的社会功能三个方面来分析可知：这部史诗反映的是德意志民族萌芽时期的宗教崇拜状况和宗教意识，无论是古日耳曼人的民族宗教还是外来的基督教在当时的影响力都是比较薄弱的。德意志民族集体潜意识中的安全需求极其强烈。从自然条件、民族关系和内在精神来讲，德意志人面临的磨难和困境比其他民族都要严苛，这三个方面的安全需求受到了极大打击和压抑，造成了德意志民族强烈的不安全感。《尼伯龙根之歌》性别角色的研究，必须置于德意志民族文化背景下，置于德意志民族的“文化——心理”结构中进行。在中世纪早期的德意志地区，男性的战士角色使人们认为，男性在身体乃至心理上强于女性是男性这一性别中理所应当的成分。因此，男性越来越倾向于扮演更为积极、更具冒险性、更有力量的工具取向的角色，而女性则越来越倾向于扮演被动的、稳定的、温柔的表意取向的角色。《尼伯龙根之歌》中的男子在建功立业中追求骑士的人生价值，而女人在对男人的追随中寻找存在的意义。根据上述分析和研究，可以进一步得出结论：第一，《尼伯龙根之歌》是德意志民族萌芽时期的自画像。《尼伯龙根之歌》与欧洲中世纪其他民族史诗在民族意识上的差异，恰恰是民族认同感缺乏导致的。第二，《尼伯龙根之歌》是社会转型期的产物。这部史诗是德意志地区从原始社会过渡到封建社会的转型期的产物，也是古日耳曼人过渡到近代意义上的德意志人的转型期的产物。因此，北欧传统继承和外来文化接纳并存是显性的，二者的分裂与冲突是隐性的，但隐性的力量也非常强大，并且有很强的延续性。第三，《尼伯龙根之歌》反映出建构德意志民族心理的两个最重要的基础——北欧文化和基督教文化。北欧文化的刺激是中世纪以后的欧洲文明与古代欧洲文明的重要区别之所在。古希腊、古罗马文化的影响比较小，则是德意志民族心理和民族文化与同时期的欧洲其他民族的重要区别之所在。总之，由德意志民族的民族历史、民族精神凝练而成的德意志民族史诗《尼伯龙根之歌》，，是德意志民族心理的投射，同时它对德意志民族性格的形成和发展起到了潜移默化的作用，对德国历史的进程产生过重大的影响。
[Abstract]:The medieval heroic epic, the song of the nation, is recognized by the German academia as the "Encyclopedia" of the German nation. It is an effective material and way to understand the German nation. Since its rediscovery in eighteenth Century, the song of "the song of the world" has undergone three stages of comparative study, functional research and multiple studies. The study of "the song of the N. N. B. lung" is now scattered in some other perspectives, and no scholars have studied it comprehensively, systematically and profoundly.
The content of national psychology is very broad. The song of "the song of" mainly shows the related contents of death consciousness, religious consciousness, safety demand and sex role. In the song of "the song of" the death consciousness is mainly reflected in the two aspects of death aesthetic value and death value. Death aesthetics belongs to the surface consciousness, its root is the root. The source lies in the value orientation of death. The ultimate direction of the two is the fear and Transcendence of death. The aesthetic value of death in the works is based on the value orientation of the death of the German people and the death of the evil and death. The magic, the hero, the personality God and the Superman God reflect the material worship, the hero worship and the God worship of the German nation. From the three aspects of the worship object, the religious emotion and the social function of religion, this epic reflects the religious worship and the religious consciousness of the German national germination period, whether it is the ancient Germanic people. The influence of the national religion or the foreign Christianity at that time was relatively weak. The security demand in the subconsciousness of the German national collective was extremely strong. From the natural conditions, the national relations and the inner spirit, the hardships and difficulties faced by the Germans were more harsh than those of the other peoples, and the security needs of these three aspects were extremely high. The great attack and repression caused the strong sense of insecurity of the German nation. The study of the sex role of the German national culture must be placed under the German national cultural and psychological structure. In the early Middle Ages, the men's role of men made people think that men were in the German area. As a result, men are increasingly inclined to play a more active, more adventurous, more powerful tool oriented role, and women are increasingly inclined to play the role of passive, stable, and gentle ideotropism. The son pursued the knight's life value in building up his career, and the woman sought the meaning of existence in the pursuit of men.
According to the above analysis and research, we can draw a conclusion: first, < the song > is the self portrait of the bud of the German nation. The difference between the song > and the other national epics of the Middle Ages in the national consciousness is precisely the lack of national identity. Second, the song of the nest is a period of social transformation. The epic is the product of the transition period of the transition from the primitive society to the feudal society in the German region, and the product of the transition period of the Germans in the transition from the ancient Germanic people to the modern sense. Therefore, the coexistence of the traditional inheritance and the foreign cultural acceptance of the northern Europe is dominant, and the split and conflict of the two are recessive but recessive. The volume is also very strong and has a strong continuity. Third, the song of "the song of the nation" reflects the two most important foundations of the German national psychology - the Nordic culture and the Christian culture. The stimulation of the Nordic culture is the important difference between the European civilization and the ancient European civilization after the middle ages. Ancient Greece, ancient Rome culture The influence is relatively small, which is the important difference between German national psychology and national culture and other European nations in the same period.
In a word, the German national epic, a German national epic of the German national history and national spirit, is the projection of the German national psychology. At the same time, it plays a subtle role in the formation and development of the German national character, which has a great influence on the process of German history.

【学位授予单位】：湘潭大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：I516.072

【参考文献】