（英语语言文学专业论文）从原型角度解读中国红山文化中的原始崇拜礼俗.pdf

v 摘 要 原型批评这一理论有着十分悠久的历史。 “原型” 这个概念最早可以追 溯至二千多年以前的柏拉图时期。 原型最初作为一个心理学上的概念由荣格提 出，他认为在个人无意识背后是人类的集体无意识，是人类族群的记忆，甚至是 人类存在以前的经验。 作为中国北方古老文明的摇篮，红山文化被誉为中华五千年文明的曙光。 红山文化， 因首次发现于中国内蒙古赤峰红山而得名。 红山文化西起西拉木伦河， 老哈河，南到大凌河流域，地处辽宁西部，内蒙古东部四盟及河北省北部地区。 红山文化的考古发现,填补了我国北方地区历史、文化延续的空白，确定了以大 辽河流域及其支流大凌河、老哈河为主要地带的我国新石器时期文明起源，为我 国五千年的文明史找到了最可靠的依据。 本文介绍了原型理论和红山文化的基本概况，做出了从原型角度解读中国 红山文化中的原始崇拜礼俗这一尝试性研究。本文通过大量的实例分析，以原型 角度为出发点，分别从天体崇拜，大地崇拜，动物崇拜，生殖崇拜等四个方面充 分解读了红山文化；最后，本文证明了红山文化中的原始崇拜礼俗所呈现的价值 观在今天仍旧影响着我们的生活。 关键词： 原型； 红山文化； 崇拜礼俗；文化意义 iii abstract archetypal theory and criticism have a distinct history and development. the concept of “ archetype” can be traced back to plato almost 2000 years ago. archetype is originally a psychological term made by carl jung, who holds that beneath each individual unconscious lies the collective unconscious of the human race, the memory of the human past, and even of our pre- human experiences. as the cradle of the ancient civilization of north china, the hongshan culture is praised as the morning twilight of the 5000 years of chinese civilization. hongshan culture was named after its first discovery in the area of hongshan mountain in chifeng city of inner mongolia. hongshan culture covers a region from xar moron river and laoha river in the west and the valley of dalinghe river in the south. it places in the west of liaoning province to the northern part of hebei province, with in between the four leagues of the eastern inner mongolia. the archaeological discovery of hongshan culture has filled the blank of the historical and cultural continuity in the north of china, and determined the origin of the new stone age along the daliao river with its tributary daling river and laoha river in liaoning province, which provides the most reliable evidence for the 5000- years civilized history of china. this thesis，at the very beginning, gives a brief introduction to archetype and hongshan culture and makes a tentative study of the primordial worshipping customs in hongshan culture from the perspective of archetype. based on a number of typical examples, it explains and analyzes hongshan culture at the level of heaven, iv land, animals, and life. the thesis finally concludes that the worshipping customs in hongshan culture are archetypes which embody the physical and psychological experiences of our ancestors thousands of years ago and exhibit ancient chinese values that still influence us even today consciously and unconsciously. keywords: archetype; hongshan culture; worshipping customs; cultural significance 学位论文独创性声明 本人郑重声明：所呈交的硕士学位论文，是本人在指导教师的指 导下，独立进行研究工作所取得的成果。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已经发表或撰写过的作品成 果。对本文的研究做出重要贡献的个人和集体，均已在文中以明确的 方式标明。本人完全意识到本声明的法律结果由本人承担。 作者签名： 日期： 学位论文使用授权声明 本人授权沈阳师范大学研究生处， 将本人硕士学位论文的全部或 部分内容编入有关数据库进行检索； 有权保留学位论文并向国家主管 部门或其指定机构送交论文的电子版和纸质版， 允许论文被查阅和借 阅； 有权可以采用影印、缩印或扫描等复制手段保存、 汇编学位论文。 保密的学位论文在解密后适用本规定。 作者签名： 日期： ii acknowledgements i am greatly indebted to a number of people who have given support and help during the time i wrote this thesis. without their help, this thesis would not have been finished. i would like to express my gratitude, appreciation and thanks to them. firstly of all, i am most grateful to my supervisor professor fan gexin, who had spent his invaluable time guiding me through the writing of this paper and made it all possible. from the planning of this thesis to its completion, i have benefited enormously from his invaluable suggestions, insightful comments and painstaking corrections to the completion of this thesis. his conscientious attitude towards research will always serves as an example in my future study and work. secondly, my heartfelt gratitude goes to all the professors who have given me instructions and help in my 3- year s study. their lectures have enhanced my interest in literature and greatly widened my horizons. any progress that i have made is the result of their painstaking efforts and unselfish devotion. thirdly, my sincere thanks also go to those contemporary scholars as well as those venerable pioneers whose insights and theories inspired me academically in the course of preparing and perfecting my thesis. last but not the least, i am obliged to my friends and fellow students, who have accompanied me during my life as a postgraduate and from whom i ve learned a lot. i wish them success in whatever careers they ll pursue. 1 chapter i a brief introduction to archetype and worshipping customs in hongshan culture a. the concept of archetype what is an archetype? the most important concept in archetypal criticism is, as its name suggests, “ archetype” . in the following passages, the author will list the definition of “ archetype” of different sorts and proposed by different people. in webster s third new international dictionary of the english language unabridged, “ archetype” is defined as “ l archetypum, fr. gk archetypon, fr. neut. of archetypos molded first as a model, exemplary, fr. arche- + typos- impression of a seal, mold, replica- more at type, the original model, form, or pattern from which something is made or from which something develops” (webster 112). the webster s revised unabridged dictionary of the english language defines this term as “ l. archetypum, gr. refers to stamped first and as a model; the original pattern or model of a work; or the model of a work; or the model from which a thing is made or formed” (porter 78). in the oxford companion to english literature, an “ archetype” is defined as a primary symbol, action, setting, or character- type that is found repeatedly in myth, folklore, and literaturethere is a universal symbolic language of dreams and visions. (drabble 38) in the oxford advanced learner s english chinese dictionary, an 2 “ archetype” is defined as original or ideal model from which others are copied; prototype. in a handbook to english and american literature, an “ archetype” is defined as: originally a psychological term from carl jung, who holds that behind each individual s unconscious lies the collective unconscious, of human race, the memory of our racial past, even of our pre human experiences. this unconscious racial memory makes powerfully effective for us a group of primordial image shaped by the repeated experience of our ancestors and expressed in myths, religions, dreams fantasies, and literature (wang 17). from a literary perspective, “ archetype” i s defined as the following. in the oxford concise dictionary of literary terms, an “ archetype” is: a symbol, theme, setting, or character type that recurs in different times and places in myth, literature, folklore, dreams, and rituals so frequently or prominently as to suggest (to certain speculative psychologists and critics) that it embodies some essential element of universal human experience (baldick 16). 3 the literary critic applies this term to an image, a descriptive detail, a plot pattern, or a character type that occurs frequently in literature, myth, religion, or folklore. it is, therefore, believed to evoke profound emotions because it touches the unconscious memory and thus calls into play illogical but strong responses. the archetypal critic studies the poem, play or novel in terms of the images or patterns by extension as a portion of the total human experience. in earlier, senses, the term refers to the original model or pattern from which something develops(wang 18). in etymology, the word “ archetype” is originated from the latin word archeypum, from greek arkhetupon, from neuter of archetypos, from archein + typos type. this term can be traced back to the philosophy of plato as early as around 300 bc. plato in his well- known idea theory, where “ idea” is more or less equivalent to “ archetype” , displays that archetypal ideas or patterns exists in a “ world of forms” , unchanging and timeless, but continually co- existent with each moment of temporal existence. according to plato, by sensuous perception people obtain an imperfect knowledge of individual objects; by our general concepts, or notions, people reach a higher knowledge of the idea of these objects. plato s view seems to come to this: to the universal notions, or concepts, which constitute science, or general knowledge as it is in our mind, there correspond ideas outside of our mind. as to plato, the “ i deas” are models and prototypes, the sensible objects are copies, though very imperfect, of these models. the ideas are reflected in a feeble and obscure way in them. the idea is the archetype (paradeigma), individual objects are merely images (eidola) (william 4 2002). the archetypal idea has always been present and diffused in human consciousness. plato was the first philosopher to elaborate the concept of archetypal or ideal forms (beauty, truth, and goodness) and divine archetypes. since the 19th century, the idea and subject have been explored extensively. practitioners of comparative anthropology, depth psychology, and comparative literature have made notable contributions. 1. archetype defined by james frazer the first one to use the concept “ archetype” in the sense it now appears in contemporary archetypal criticism is cultural anthropologist james frazer (1854 1941). james frazer is a most prolific and influential anthropologist in his fifty years of research on myth. for twenty- five years he worked on the golden bough, his masterpiece in twelve volumes. in the golden bough, frazer reminds us of the importance of mythology and rituals, warning us not to dismiss them as primitive: “to stigmatize these premises as ridiculous because we can easily detect their falseness, would be ungrateful as well as unphilosophical” (james george frazer, 1922). he tried to show a general development of modes of thought from the magical to the religious and, finally, to the scientific, or the trace of human consciousness from the primitive to the civilized. this evolutionary sequence now seems unsatisfactory, but the synthesis and comparison of a wide range of information about religious and magical practices alone have made frazer immortal. 2. archetype defined by carl jung 5 jung, a pupil and prot g of freud, disagreed with the latter over the nature of libido and developed his own analytical psychology in 1913. libido exists for him essentially in the collective unconscious manifested in archetypes, and failure in recognizing and accepting these archetypes results in neurosis. jungian psychology, in a sense, applies more readily to literature as it springs from primitive myth and rituals. the contents of the collective unconscious are called archetypes. jung also called them dominants, images, mythological or primordial images, and a few other names, but archetypes seem to have won out over these. an archetype is an unlearned tendency to experience things in a certain way. the archetype has no form of its own, but it acts as an “ organizing principle” on the things we see or do. the principal archetype comes from the collective unconscious, the racial memory of its primitive roots. the collective unconscious is a part of the psyche, which can be negatively distinguished from a personal unconscious by the fact that it does not, like the latter, owe its existence to personal experience and consequently is not a personal acquisition. the concept of the archetype, which is an indispensable correlate of the idea of the collective unconscious, indicates the existence of definite forms in the psyche which seem to be present always and everywhere. mythological research calls them “ motif” ; in the psychology of primitives they correspond to levy bruhl s concept of “ representations collectives,” and in the field of comparative religion they have been defined by hubert and mauss as “ categories of the imagination.” adolf bastian long ago called them “ elementary” or “ primordial thoughts.” from these references it should be clear enough that jung s idea of the archetype- literally a 6 pre- existent form- does not stand alone but is something that is recognized and named in other fields of knowledge. archetypal theory gets its impetus from carl jung, who postulates that humans have a collective unconscious, a kind of universal psyche. jung believes that archetypes represent and describe the behavior of humans. they reside in the space that has connected people throughout all time and space. myths, images and themes in dreams are all expressions of archetypes. moreover, there are as many archetypes as there are typical situations in life. archetypes are characteristic of humans as a species and have developed as a result of the human evolution physically and mentally over millions of years ago according to campbell and stevens. as a developing and changing form, archetype remain its primal power without losing wholeness to satisfy human s spiritual and cultural needs in different stage. and yet, it has staggered on slowly. so, to decipher how archetypes evolve, based on the study of human origins, and the biological and cultural nature of archetypes, is a proper way to prove with facts that archetypes do embody the human collective unconsciousness. it has experience the biological and cultural development and evolution. archetype, as the physical experience and primordial spirit, is shared by all. the primal form of archetype must be concrete and spatial, but it evolves into abstract and timeliness with the development of primordial people s brain and language. on one hand, the change of geography, climate and food cycle alters the instinct and habit of primordial people. on the other hand, food, sex and safety wishes help create various totems, human- like gods, gods and religious rituals. with the movement of 7 time and the change of substance, these spiritual needs and survival experiences have shaped the basic archetypes and archetypal forms. archetype is the concentration of psychological and spiritual experience by homo sapiens, which evolves into the content of collective unconscious with its constant repetition. so jung s collective unconscious is a kind of psychological pattern with universal and inherited features, which developed as a result of human evolution physically and mentally over thousands of years, and its content is archetypes. jung believes that the collective unconscious in our mind is linked with historical and cultural occurrences and memories, and there are different levels of unconsciousness existing together. generally, there are two kinds of unconsciousness: “ the personal, which comprises repressed memories that are part of an individual s psyche, and the archetypal, which comprises the racial memory of a collective unconscious, a storehouse of images and patterns, vestigial traces of which inhere in all human beings and which find symbolic expression in all human art” (fan, literary criticism, 1). as the primal instinct and survival experience of humans, the collective unconscious is universal and impersonal, which experience the process of changes and heredity. our ancestors share their experiences in their physical and mental survival which can still be found functioning everywhere in the world today with the forms of totemism, rituals, mythology and so on. in fact, it is hard for us to tell all the forms of archetype, as the forms of archetype exist only in the unconscious and beyond 8 conceptualization without certain contents. the archetype has no form of its own, but it acts as an organizing principle on the things we see or do. however, jungians provide some basic forms of the archetype, such totems as tiger, snake, fish and some original forms (images), fire, water, apple, concerning with food, sex and safety wishes in our ancestor s minds. the ritual of death- rebirth is an eternal form as archetype, and the journey of mythological characters, like oedipus, for instance. according to jungians, when we are in some special time and situation, some kind of emotion which has been rooting in our inner psyche will be evoked. 3. archetype defined by northrop frye for frye, an archetype is a “ symbol, usually an image, which recurs often enough in literature to be recognizable as an element of one s literary experience.” frye devises an elaborate taxonomy of modes, symbols, myth, and genres, establishing a complex and comprehensive correspondence between the basic genres, comedy, romance, tragedy, and irony and the myths and archetypal patterns associated with the seasonal cycle of spring, summer, fall, winter. frye is best remembered for the anatomy of criticism (frye 1957). in his anatomy of criticism, with brilliant audacity identifies myth with literature, asserting that myth is a “ structural organizing principle of literary form” (frye 34) and that an archetype is essentially an “ element of one s literary experience” (ibid. 365). and in the stubborn structure (frye 1970) he claims that “ mythology as a whole provides a kind of diagram or blueprint of what literature as a whole is all about, an imaginative survey of the human situation from the beginning to the end, from the height to the depth, of what is imaginatively 9 conceivable” (ibid. 102). the work expresses his belief shared by the new critic and literary psychoanalysts that literary criticism should possess the methodological discipline and coherence of the natural science. for him, the coherence reveals itself in the recurrence of archetypes in literature, and the discipline he works out is the schematic structure of literature. for frye, archetype means a primordial image, a part of the collective unconscious, the psychic residue of nu