普罗米修斯在中国

发布时间：2018-06-25 22:32

本文选题：普罗米修斯 + 原型　；参考：《中国社会科学院研究生院》2013年博士论文

【摘要】：普罗米修斯是西方文学史上的经典形象。在延续已近3000年的普罗米修斯神话的“奥德修斯之旅”中，普罗米修斯形象历经了漫长而复杂的演变过程，其中以并非“十全十美”、颇能精湛表达古希腊“节制”精神的“原型”、以及作为彻底反叛者的“近代全新革命者形象”为两座丰碑。1907年，鲁迅通过《摩罗诗力说》首次介绍了雪莱塑造的普罗米修斯的近代形象，并在1930年提出的“翻译盗火说”中将普罗米修斯直接比附“革命者”。1924年，郑振铎在当时的权威刊物《小说月报》上首次介绍了埃斯库罗斯塑造的普罗米修斯原型。普罗米修斯身上体现的“抗暴”精神，为20世纪上半叶中国的革命志士们带去了前所未有的战斗激情。然而，在足够肯定普罗米修斯这一外来形象带给中国的仁人志士与革命进程以绝对正面效应的同时，笔者发现，无论是普罗米修斯原型还是他的近代形象，普罗米修斯在中国都单向度地、绝对正面地表现成了彻底的反叛者、革命者和胜利者的象征，与普罗米修斯的西方近代形象极为近似。普罗米修斯在中国成为了一种约定俗成的象征符号。换言之，普罗米修斯原型进入中国后，其全貌几乎完全被遮挡在普罗米修斯近代形象所形成的主流中；两种形象（甚至是西方关于普罗米修斯的多种形象）已然混合成为了一种形象，而以近代形象的面目示人。普罗米修斯的原型和近代形象，这两个里程碑式的形象进入中国，却因为其中一个形象的过分展现而失去了二者本应受到制约的平衡。普罗米修斯在中国的接受情况，在一种貌似十分明确的评判定势之下，隐含着学界人士对理解这一经典形象在西方文学的复杂变迁过程中囫囵吞枣、不求甚解的含混与模糊。普罗米修斯的近代形象在中国人头脑中的固化，阻碍了我们对普罗米修斯原型的全面、深刻的认识。如果说近代以来的中国国情决定了人们受压的心灵只能关注那个“十全十美”的、作为彻底反叛者的普罗米修斯的近代形象，那么在经历过那段血雨腥风的革命年代之后，我们是否需要重新回头去审视一下那个进入中国也已将近百年的普罗米修斯原型。一直蒙蔽真相的幕帘，已到了该被扯下来的时候了。如同上个世纪中国急需普罗米修斯近代革命者形象一般，在经济飞速发展（这有赖于逻各斯精神的大放光芒）而“秘索思”失落的今天，我们或许能从普罗米修斯原型身上发现“制衡现代文明”的一束亮光。
[Abstract]:Prometheus is a classic image in the history of western literature. The image of Prometheus has undergone a long and complex process of evolution in the journey of Odysseus, which has lasted nearly 3,000 years. The archetypes, which skillfully express the spirit of "moderation" in ancient Greece, and the "image of a new revolutionary in modern times" as complete rebels are two monuments. Lu Xun introduced the modern image of Prometheus created by Shelley for the first time through "the Theory of Moro Poems", and in 1930, put forward "the theory of fire theft in translation" to directly compare Prometheus with "revolutionaries." in 1924, Zheng Zhenduo first introduced the Prometheus prototype created by Aeschylus in the monthly Fiction. Prometheus' anti-riot spirit brought unprecedented fighting passion to Chinese revolutionary idealists in the first half of the 20th century. However, while affirming that Prometheus, a foreign image, has brought absolute positive effects to China's benevolent ideals and revolutionary process, the author finds that both the Prometheus archetype and his modern image. Prometheus in China all unidirectional, absolutely positive performance has become the thorough rebel, the revolutionary and the victor symbol, and Prometheus's western modern image is very similar. Prometheus became a conventional symbol in China. In other words, after the prototype of Prometheus came into China, its whole appearance was almost completely blocked in the mainstream of the modern image of Prometheus. The two images (and even the Western images of Prometheus) have been mixed into one, and present as modern images. The archetypal and modern images of Prometheus, the two landmark images, entered China, but lost the balance which should be restricted by one of them. The acceptance of Prometheus in China, under a seemingly very clear judgment pattern, implies that scholars swallow up the understanding of this classic image in the course of the complex changes of Western literature, and do not even understand the ambiguity and ambiguity. The solidification of the modern image of Prometheus in the Chinese mind hinders our comprehensive and profound understanding of Prometheus' archetype. If it is said that the national conditions of China since modern times have determined that people's stressed minds can only pay attention to the modern image of Prometheus, who is "perfect" and a complete rebel, then after the bloody revolutionary era, Do we need to look back at the Prometheus prototype, which has been in China for almost a hundred years? The curtain of truth had been blinded, and it was time to tear it down. Just as the image of the modern revolutionist Prometheus was badly needed in China in the last century, today when the economy is booming (which depends on the great shine of the logos spirit) and the "mystery" is lost, We may find in the Prometheus archetypes a light that checks and balances modern civilization.
【学位授予单位】：中国社会科学院研究生院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：I106

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