| 袁意.“超我”的审判和“自我”的复归——精神分析视域下的《罗生门》场景研究[J].唐山学院学报,2022,35(1):103-108 |
| “超我”的审判和“自我”的复归——精神分析视域下的《罗生门》场景研究 |
| The Judgment of “Superego” and the Return of “Ego”: a Study on the Scenes in Rashomon from the Perspective of Psychoanalysis |
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| DOI：10.16160/j.cnki.tsxyxb.2022.01.013 |
| 中文关键词: 罗生门 场景结构 精神分析 |
| 英文关键词: Rashomon scene structure psychoanalysis |
| 基金项目: |
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| 中文摘要: |
| 芥川龙之介在《罗生门》中设置了宽阔的下层空间和相对狭小的上层空间，小说主人公"仆人"沿着石阶和梯子自下而上再自上而下，场景的两度转换伴随着人物心理和行为动机的改变，而这个故事整体上几乎就是一个典型的隐喻结构。从精神分析学的角度来看，混乱而充满世象的下层空间是对主人公"超我"的再现，自由而封闭昏暗的上层空间象征着不受控制的"本我"存在，而破败不堪的外部世界则以"超我"的审判方式将"仆人"的"自我"压抑到"本我"的边缘，亦即死亡冲动的空间中。面对此种挑战，"仆人"在"本我"空间借助于以"刻耳柏洛斯"身份存在的"老妪"重新找回"自我"，并由此转向"自我"的复归以及对"超我"的反叛之路。 |
| 英文摘要: |
| In Rashomon, Akutagawa Ryunosuke set up a wide lower-space and a relatively narrow upper-space,where the protagonist, a "servant", goes up and down from the stone steps and the ladder,and the scene has changed twice with the changes of the character’s psychology and behavioral motivation. The whole story is almost a typical metaphorical structure. From the viewpoint of psychoanalysis, the chaotic and worldly lower-space is a representation of the protagonist’s "superego", the free, dim and closed upper-space is a symbol of the uncontrolled "id", while the dilapidated external world depresses the "ego" of the servant to the edge of the "id" with the judgement of "superego", that is the space of death impulse. Faced with this challenge, the servant recovers its "ego" in the "id " space with the help of the "old woman" who exists as a "Cerberus", and then turns to the return of the "ego" and the rebellion against the "superego". |
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