硕士学位论文-《丽塔海华斯和肖申克的救赎》的原型分析.pdf

中图分类号：1561074UDC：800密级：学校代码：讶l解为大学硕士学位论文(同等学力)公开10094AnArchetypalAnalysisofRitaHayworthandShawshankRedemption丽塔海华斯和肖申克的救赎的原型分析作者姓名：指导教师：学科专业名称：研究方向：论文开题日期：孙昕翎宋慧玲副教授英语语言文学英美文学2010年1月9日AnArchetypalAnalysisofRitaHayworthandShawshankRedemptionBySunXinhongSupervisor：SongHuilingSpecialty：EnglishLanguageandLiteratureResearchDirection：EnglishandAmericanLiteraturetedtoForeignLanguagesInstituteInPartialFulfillmentoftheRequirementsFortheDegreeofMasterofAnsAtHebeiNormalUniversityn学位论文原创性声明本人所提交的学位论文丽塔海华斯和肖申克的救赎的原型分析，是在导师的指导下，独立进行研究工作所取得的原创性成果。除文中已经注明引用的内容外，本论文不包含任何其他个人或集体己经发表或撰写过的研究成果。对本文的研究做出重要贡献的个人和集体，均已在文中标明。本声明的法律后果由本人承担。茹警并荆绷p、年6羁lBj指导教师确认(签名0l每6玛1学位论文版权使用授权书日本学位论文作者完全了解河北师范大学有权保留并向国家有关部门或机构送交学位论文的复印件和磁盘，允许论文被查阅和借阅。本人授权河北师范大学可以将学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或其它复制手段保存、汇编学位论文。(保密的学位论文在年解密后适用本授权书)：储淄釉“j蜘少f日指导教师(签名)：LotI月日IIIAbstractRimHayworthandShawshankRedemptionisanovellawrittenbyStephenKing，afamousAmericancontemporarypopularfictionwriterThethesisattemptstousethearchetypalcriticismtheoriestoanalyzethebiblicalarchetypesinthisfiction，whichincludesitsmotifs，characters，structuresandimageryThethesisismadeupofsixpartsThefirstpartintroducesStephenKingSlifecareerandliteraryreviewsonhisfictionsItalsogivesabriefintroductiontoNorthropFryeSarchetypalcriticismtheorywhichisthetheoreticalguidelineinthethesisFromChapterOnetoChapterfourthethesisgivesadetailedanalysisofthefictionbyusingarchetypalcriticismtheoryfromdifferentaspectsChapterOneisananalysisonthemotifsFourbiblicalmotifsareanalyzedinthischapterwhichareseparatelyredemptionmotifsacrificialscapegoatmotifquestmotifandrebirthmotifChapterTwoanalyzesthearchetypalcharactersinthefiction，theprotagonist，AndyDufresneandtheserialSatancharacterssuchasSamuelNortonandStemmasChapterThreeanalyzesthearchetypalstructuresfromtheBibleinthisfictionekindsofbiblicalstructuresareusedinthefiction，whichincludesbigUshapedstructure，small-UshapedstructureandcircularstructureChapterFourisananalysisonarchetypalimageryinthefictionShawshankistheimageryofhellwhileZihuatanejoistheimageryofheavenItalsomakesashortanalysisofthesymbolinthisfictionThelastpartistheconclusionofthethesisThroughthedetailedanalysisonthefictionSmotifs，characters，structuresandimagerythethesisconcludesthatthefictionSliteraryarchetypeistheBibleBesides，byperfectlymakinguseofthebiblicalarchetypes，StephenKingnotonlyeffectivelyconveyshisoriginalcreativeintention，deepenstheculturalandsocialconnotation，butalsogreatlyintensifiestheprofundityandartisticqualityandthethemeofthefictionisstillmeaningfultoOurreallifeWeshouldreuateStephenKingSworksobjectivelyKeywords：ArchetypalMotifs；ArchetypalCharacters；ArchetypalStructures；ArchetypalImageryIV摘要丽塔海华斯和肖申克的救赎是美国当代著名作家斯蒂芬会的一部中篇小说。这篇论文旨在用原型批评理论分析这部小说的圣经原型。包括它的主题，人物，结构和意象。这篇论文由六部分组成。论文第一部分介绍斯蒂芬金的事业生涯和关于他的作品的文学评论。这一部分还简单介绍了这篇论文的理论指导一诺斯罗普弗莱的原型批评理论。第一章到第四章用原型批评理论对这部小说从不同的方面进行了详细的分析。第一章是对小说主题的分析。四个圣经原型主题分别是救赎主题，替罪羊主题，追寻主题和再生主题。第二章分析了这部小说的原型人物，主人公安迪杜弗莱斯以及一系列的撒旦人物例如典狱长诺顿和史特马等。第三章分析了丽塔海华斯和肖申克的救赎中的圣经原型结构。三种原型结构在这篇小说中被运用，包括两种U型结构和环形结构。第四章分析了这部小说的原型意象。其中肖申克监狱是地狱的意象而齐华坦尼荷是天堂的意象。这部分还分析了小说中的象征。最后一部分是这篇论文的总结。通过对这部小说主题，人物，结构和意象的详细分析，得出结论这部小说的文学原型就是圣经。此外，通过完美地使用这些圣经原型，斯蒂芬金不仅有效地传达了他原始的创作意图，深化了作品的文化和社会内涵，而且极大地增强了作品的深刻性和艺术性，小说的主题对我们的现实生活仍有意义。我们应该重新客观评价斯蒂芬金的作品。关键词：原型主题原型人物原型结构原型意象VContentsEnglishAbstractIVChineseAbstractVIntroduction1ChapterIBiblicalArchetypalMotifs6ARedemptionmotif6BSacrificialscapegoatmotif10CQuestmotif。13DRebirthmotif16ChapterIIBiblicalArchetypalCharacters18AAndyJesusChristandMoses19】BSatancharacters：!zIChapterBiblicalArchetypalStructures28ABigU-shapedstructures28BSmallU-shapedstructures30CCircularstructure：；：!ChapterIVBiblicalArchetypalImagery35AShawshank-hell：；6BZihuatanejo-heaven39CPosterandhammerzI()Conclusion42Notesz15Bibliography48VIIntroductionStephenKingwasborninPortland，Maine，in1947HewonascholarshipawardoftheUniversityofMaineandlatertaughtEnglishwhilewritingshortstoriesforsomemagazinestosupporthisfamilyWiththepublicationofhisfirstnovelCarriein1974hequicklyestablishedafaithfulreadershipandhispositionasAmericaSpremierhorror-writerKinghaswoncountlessawardsandhassetanumberofsalesrecordssincethenMillionsofcopiesofhisbooksareinprintandhisworkshasbeentranslatedintooverthirtylanguagesandpublishedinmanycountriesSomeofhisworksarethebasisforalargenumberoffilms，TVmoviesandminiseriesaGuinnessworldrecordEventodayafterthirtyyearshedoesntfadeoutofthereaderseyeshotlikemanyotherbest-sellingfictionwriters，butbecomesthemostpopularwriterbecauseofhissuperbskills，acuteinsight，fluentlanguage，fantasticthought，abundantthemesandamazingsaleswhichonlytheBibleCanbecomparedwithEachofhisnewbooksisdestinedtoriseuptothetopoftheNewY0rkTimesBestsellerlistinafewweeksandheisregardedasoneofthenationSmostpopularimaginativeandbelovedauthorsOnSeptember15，2003theBoardofDirectorsoftheNationalBookFoundationawardedStephenKingitsMedalforDistinguishedContributiontoAmericaLeRerJustasNeilBaldwin，cutivedirectorofthefoundationsaid，StephenKingSwritingissecurelyrootedinthegreatAmericantraditionthatglorifiesspiritof-placeandtheabidingpowerofnarrativeHecraftsstylish，mindbendingpageturnersthatcontainprofoundmoraltruths-somebeautiful，someharrowing-aboutourinnerlivesThisawardcommemoratesMrKingSwellearnedplaceofdistinctioninthewideworldofreadersandbookloversofallages“1)TheawardmadehimequaltootherfamouswriterssuchasSaulBellowToniMorrisonandArthurMillerStephenKinghaspublishedmorethan200shortstories(includingthe0HenryAwardwinningTheMan胁theBlackSuitin1982)andoverfortybooksduringhistmnyyearscareerHehasgainedareputationamongreadersasavividstorytellergenre-defyingstylist，andmasterofsuspenseManyfamousnewspapersmakegoodremarksonhisworks“ThetruenarrativeartistisararecreatureStorytellingtheabilitytomakethelistenerorthereaderneedtoknowdemandtoknowwhathappensnext-isagiftStephenKing，likeCharlesDickensbeforehimhasthisgiftinspades二TheTimes；“ThegreatestpopularnovelistofourdaycomparabletoDickensNotsinceDickenshasawriterhadSOmanyreadersbythethroatKingSimaginationisvastHeknowshowtoencouragethedeepestsympathiesofhisreaders”一Guardian；“AwriterofexcellenceKingisoneofthemostfertilestorytellersofthemodemnovel-TheSundayTimesTherealsohavebeenmanybooksandreviewsonStephenKingabroadSharonRusselSRevisitingStephenKing：ACriticalCompanion(CriticalCompanionstoPopularContemporaryWriters)，SusanWilson!SStephenKing：lOngofThrillersandHorrorandMagistraleTonySStephenKing：theSecondDecade：DanseMacabretotheDarkHalfarebiographicalbooksaboutKingThereareotherarticlesandbooksonthefeaturesanddifferentaspectsofhisfictions，suchasWillNapierSHollywoodsStephenKingBadleyLindaSFitmHorrorandtheBoayFantasticandGaryHoppenstandRayBBrowneSTheGothicWorldofStephenlOngLandscapeofNightmaresetcButStephenKing，asathriller-fictionwriterhasbeencriticizedbypartsoftheliterarycommunityThenKingSnovellacollectionDifferentSeasonspublishedin1982isthestrongresistancetotheliterarycriticsdiscriminationThisWasthefirsttimethathepublishedhisnonthrillingfiction，butunexpectedlygotravereviews，andquicklyleapttobest-sellingbooklist，whichfurtherconfirmedKingSstatusamongthenonthrillingfictionreadersInparticularthesecondfiction，RitaHayworthandShawshankRedemptionispraisedbymanyreadersandcriticsInthefiction，theheroAndyDufresne，awellto-dobankeriswronglyconvictedtolifeinprisonurderinghiswifeandherloverIntheShawshankprisonhesafriendshipwithRedwhoisalsoservingalifesentenceforamurderhecommittedwhenheWasyoungAlthoughAndymeetswithlotsofdifficultiesandsuffersfrommanytortures，hetrieshisbesttoimprovetheconditionsandhelpotherinmates，meanwhilehewinsthetrustofthewardensbecauseofhisfinancialtalentButthemostimportantthingisthathenevergivesuphishopeforfreedomandhehasbeenpreparingforhisjailbreakmeticulouslyHeeventuallysucceedsinaspectacularescapeandrealizeshisredemptionAndytheheroScharacterizationisplump，hisenthusiasticloveforlife，hispersistentyearningforfreedomandhistenaciousperseveranceleaveanindelibleimpressiononthereadersAsaresult，readersalsoseeStephenKingSlong-simmeringrealisminhis2writingtalentThenthefictionwasfilmedin1995andsuccessfullydrewgreatattentionThefilmwentontobenominatedforsevenAcademyAwardsandhasgrowninpopularitysinceitsrelease，holdingaplaceintheInternetMovieDatabaseSlistoftoptenfilmsforquitealongtimeWiththeSuccessofthefictionStephenKingalsoenteredtheprimeageofhiswritingcareerThethesisjustchoosesthisfictionastheanalyzingobjectIncontrastwithhispopularityamongwesternreadersStephenKingmeets、析mbarriersinChinabecauseofdifferentculturalbackgroundsandsocialpsychologicalproblemsHisworkhasbeenneglectedinourcountryandonlyafewreviewsandthesisareonKingandhisworks，mostofwhichareonhisthrillingfictionssuchasthemastersthesis“TheNarrativeModelofStephenKingSHorrorFictionsandItsTranslationwrittenbyZengHuiofXiangtanUniversitywhichanalyzesthedifferencesofthenarrativepatternsbetweenStephenKingShorrorfictionsandChinesehorrorfictionsanddiscussestheproblemsintranslatingStephenKingSfictions；TheNewGothicWorldofCujobyStephenKingwrittenbyGuoDonghuiofShandongUniversitywhichfocusesontheanalysesoftheGothicstyleofStephenKingSCujo；“Dark-EnlightenedNightJourneyofSoul一-AThematicApproachtotheEnchantmentofStephenKingSHorrorFictionwrittenbyShiHanhanofTi觚jinTechnologicalUniversitywhichseekstheartisticcharmofStephenKingSfictionsfromthestandpointofthemesAlthoughtherearemanyreviewsandstudiesonKingandhisworks，mostofthemareconcentratedonhisthrillingfictionsThestudyonhisnonthrillingfictionsislimitedTherearealsomanyreviewsandanalysisonRitaHayworthandShawshankRedemption，butmostofthemfocusonitsfilmversionfromtheviewofitsthemeandcharacterandalargepartofthemareshortfilmreviewsOnlyonemasterthesiswrittenbyZhaoMuofShandongUniversityisonRitaHayworthandShawshankRedemptionWitharchetypalcriticismandsemioticsasthetheoreticalframeworkthethesisbyZhaoMuanalyzes、ithdetailsthemajorcharacters，thethemeandthestructureofthefictionThroughthedetailedanalysisanddiscussionhisthesisconcludesthatthefictioniswitllastrongChristiancolorButhisthesismainlyfocusesontheAmericanDreamThemeandChristiancolorbyuseofsemioticsTheuseofArchetypalcriticismisinsufficientandsomeimportantaspectsofthefictionarenotanalyzedBesides，theanalyzingobjectofhisthesisisthefilmversionofRitaHayworthand3ShawshankRedemptioninsteadofthefictionitselfInfact，KingSfictionsarequituablefrommanyanglesofliterarycriticismAsanangleofidentifyingliterarywork，itsapitytoneglectthestudyofarchetypesThereforethetargetofthethesisistousethearchetypalcriticismtheorytoexploretheunderlyingarchetypalelementsinRitaHayworthandShawshankRedemptioninordertorepresentitsliterarytreasuresArchetypalCriticismisaninfluentialmovementinthehistoryofliterarytheorywhichoriginatesinBritainatthebeginningofthetwentiethcenturyespeciallyprentintheWestfromthe1950stothe1960sThewordarchetypeoriginatesinaGreekwordarchetypos“ArcheSmeaningisoriginalormitiVe；typos”meansAtitsearlystage，itwasnamed”mythcriticism”or”mythandarchetypalcriticism”whichintendstolookfortheoriginofliteraturefromreligiousphenomena，forexample，myths，tales，ritualsandtotems，etcInliterarycriticism，anarchetypemaybedefinedas”asymbol，theme，setting，orcharacter-typethatrecursindifferenttimesandplacesinmyth，literature，folklore，dreams，andritualsSOfrequentlyorprominentlyastosuggestthatitembodiessomeessentialelementofuniversalhumanexperience(2)TheCanadianliterarycriticNorthropFrye(19121991)，themostimportantandinfluentialcriticonarchetypalcriticism，developshisarchetypaltheoryonthebasisofJamesGeorgeFrazerandCarlGustavJungSresearch，especiallyJungSconceptof”collectiveunconscious”一”aracialmemoryinheritedbyallthemembersofthehumanfamilyandconnectingmodemmanwithhisparameciaroots(3)AnatomyofCriticismpublishedin1957givesacleardefinitionofarchetype：”asymbol，usuallyanimage，whichrecursoftenenoughinliteraturetoberecognizableasanelementofoneSliteraryexperienceasawhole4)“asthearchetypeisthecommunicablesymbol，archetypalcriticismisprimarilyconcemedwithliteratureasasocialfactandamodeofcommunication”(5)AccordingtohistheorysayhavepersistedwithverylittlechangefromAristophanestoourowntime，“6)Fryeconsidersliteratureastherevivalandreappearanceofmythsandrituals”Ritualanddream，therefore，arethenarrativeandsignificantcontentrespectivelyofliteratureinitsarchetypalaspectThearchetypalanalysisofanoveloraplaywoulddealwithitintermsofthegeneric，recurring，orconventionalactionswhichshowanalogiestorituals，(7)asthemodesoffictionmovefromthemythicaltothelowmimeticandironic，theyapproachapointofextremeorrepresentativelikenesstolifeItfollowsthatthemythicalmode，thestoriesaboutgods，inwhichcharactershavethegreatestpossiblepowerofaction，isthemostabstractandconventionalizedofallliterarymodes(8)Andhedefinesmythas”Anarrativeinwhichsomecharactersaresuperhumanbeingswhodothingsthat“happenonlyinstories”；henceaconVentionalizedorstylizednarrativenotfullyadaptedtoplausibilityorrealism(9)InFryeSviewthemythicpatternsBiblestoriesarethemostessentialpaRemofliteraryworksTheBibleisthecrystallizationandideologicalpropoftheChristianculture，whichispassedonfromgenerationtogenerationastheprimarysourceofwestemliteratureandcultureItnotonlyhasmuchinfluenceonthepsychologicalexperiencesandemotionalworldofthewesternpeople，butalsoaffectsthewesternliteraturegreatlyFryeeverregardstheBibleasoneoftheoriginsofliterarysymb01AgreatmanyofarchetypesintheBible，asthesedimentandaccumulationofhumanbeingscollectiveunconscious，infiltrateintohumanbeingSmemoryandbecomeallkindsofarchetypesfrequentlyreappearinginliteraryworksFryepointsoutthatthereexistmanyarchetypesoriginatingfrombiblicalmaterialssuchascharacters，themes，structures，imageryandsymbolsandSOonManymasterpiecesofthegreatwritersaredirectlybasedontheBible，suchasDanteSDivineComedyJohnBunyanSThepilgrimsProgressandJohnMiltonSParadiseLostInRitaHayworthandShawshankRedemption，biblicalarchetypesareratherobviousSobymakinguseofthetheoryofarchetypalcriticismthethesiswillprobeintotheinterpretationofthearchetypescoveringitsthemes，characters，structures，andimagery5ChapterIBiblicalArchetypalMotifsAmotifisarecurringtheme，subjectorideainaworkofliteratureItisoneoftheprimaryideasinaliteraryworkandapartofthemainthemeaswellInouranalysisofthearchetypalmotifs，atleastfourarchetypalmotifsCanbesortedoutinRitaHayworthandShawshankRedemption，namelyredemptionmotifquestmotifsacrificialscapegoatmotifandrebirthmotifARedemptionmotifTheprimarymotifofthefictioniscloselyrelatedtoadeeplyrootedreligiousconceptinthewestemculture，namely“redemption”ThispartfocusesonanalyzingtheredemptionmotifIIlRitaHayworthandShawshankRedemptiontheword”redemption”isusedonlvonceinthetitleofthefictionInspiteofthesuperficialstoriesandtopics，aprimarymotifofthisfictionisaround”redemption”ItisthekeywordleadingtothecentralthemeofRitaHayworthandShawshankRedemptionInordertobetterunderstandthe”redemption”inthefiction，theoriginabout”redemption”willbeintroducedfirstlyReligiouslyspeaking，”redemption”，whichmeans“save”，rescueor“repay”，isamuchreferredandoftenrepeatedconceptinmanyreligionsItisprovedthatmanyreligionsarealikeintheessentialphilosophyandcreeds，whichshowthesimilarityofhumanculturesinspiteofdifferentbackgroundsButtheword”redemption”inthewesterncultureisthemostimportantreligiousconceptinChristianitywhichdirectlyconnectsthesinsIntheChristianideas，becauseofAdamandEveSeating”forbiddenfruit，”asaresult，theycommitthe”originalsin，”theyandtheirdescendantsaredoomedtoredeemthemselvesalltheirlivesAfterthecircleofsin，repentance，redemptionanddeliverance，thetreeandwateroflifetheylosewhentheyaredeportedfromtheGardenofEdenalerestoredtoredeemedmankindIntheBiblethewordredemption”appearsinIsaiahoftheOldTestamentwhenthefirstmurderOCCurSasbelow：”Zionshallberedeemedwithjudgment，andherconvertswith6、righteousnessAndthedestructionofthetransgressorsandofthesinnersshallbetogetheraIldtllevtlla_tforsaketheLORDshallbeconsumedOo)Itturnsoutthatittheword”redemption”originatesfromIsaiahoftheOldTestamentintheBible；itisaconceptthatattachesmuchimportanceespeciallytothenotionof”sin”，onlythroughitCanthesinnersgettheirredemptionTheinitialconceptofredemption”，whichsemanticallyaimstheexpiationorrepentancethatthesinnersreceiveforthesalvationorrebirthachievedintheirfuturelife，ithasitscertainandclearmeaningduringaspecialperiodoftimetothoseChristianswhodevoutlyandstrictlybelieveinChristianityTakenaltogethertheconceptof”redemption”originatesandprevailsinthetheisticageandhass仃ongChristiancolorAsismentionedabove，RitaHayworthandShawshankRedemptionisastoryaboutredemption，themeaningof”redemption”inthisfictionwillbeinterpretedbytwocharactersbelowInthefiction，AndyDufresneisexiledtotheShawshankprisonTheworldinShawshankisjustlikehisname，whichmeansthebigsharkandthelifeinitissomewhatlikethelifeinthehellThedefinitionofredemptionthereisdecidedbythecruelandgreedywardensInShawshank，freedomissomethingthatabandonsyouandhopeoranyimpracticalfantasyiscompletelyuselesshere，whileShawshankisessentiallythehellInfact，WardenswordshavebecomemostinmatesBibleTheyaregraduallyhabituatedtothelifewithouthope，freedomordignityinthisprison，becausetheyaresentencedtohavecommittedseverecrimeslikemurderandarec