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老年黑格尔派与青年黑格尔派的区别黑格尔学派之所以分为老年黑格尔学派与青年黑格尔学派,实际上是由黑格尔的辩证“扬弃”基本上的歧义所得出的,对于辩证的扬弃既可以做出保守的解释,也可以做出革命的解释。
施特劳斯最早通过政治的和宗教的差异对黑格尔学派做出区分,在形式上,源自法国议会的政治划分,在内容上,源自在基督学问题上的不同观点。
后来这一观点被密什莱继续彻底贯彻了下去,自此以后得到了保持。
一、老年黑格尔派老年黑格尔派又被称作黑格尔右派,他们依据黑格尔依据内容和形式对基督教做出的区分,在概念上肯定性的接受了内容。
传统意义上的老年黑格尔派代表人物有亨宁、霍托、弗尔斯特、道布等,他们对于黑格尔的哲学思想逐字逐句坚持并且将其贯彻于自身的历史哲学研究当中,但是并未能超出黑格尔的亲身影响,不能以自己的方式将其阐释发展扩散出去。
现在大部分人认为罗森克兰资、海姆、埃德曼、费舍他们即使都不具有彻底的革新思想与倾向,但是他们是黑格尔和尼采之间黑格尔哲学的真正维护。
罗森克兰资在1875年的《论新近德国哲学、特别是黑格尔哲学的历史》中提到:我们今天的人似乎是那些在18世纪下半叶出生、在19世纪上半叶去世的哲学家的“掘墓人和立碑人”。
“我们能够在这个世纪的下半叶同样提供一个圣洁的思想家团队吗?在我们的年轻人中间,有人的心灵为的热情和亚里士多德的工作乐趣所激励,做出思辨的不朽努力吗?我们的年轻人也许梦想着别的花环……他们很快就耗光了自己,在一些给人以希望的兴盛后就变得一事无成,开始复制、重复自己,在克服了较不自由、不完善、片面的、暴躁的青春尝试之后接踵而至的才是猛烈的、聚精会神地活动的时期。
他一方面折射出了青年黑格尔派的革新,另一方面从自己“世界异化”走出,而扩展和改变了自己与现实的关系。
但是,后一方面依旧在黑格尔本身的哲学体系之中,即是理论与实践、概念与实在的统一之中,因此即使有所改变,但是并未对黑格尔哲学具备彻底的革新思想。
海姆对黑格尔批判的、历史的阐述也超越倾覆的时代,对黑格尔哲学做出了进一步的维护与改造。
外国文学史课程教学实践论文(共2篇)导读:外国文学史论文应该如何写作?对于现在的很多作者来说,写作论文都是特别常见的现象了吧,但是想写好一篇优秀的论文并不是那么简单容易的,本论文分类为文学史论文,下面是小编为大家整理几篇外国文学史论文范文供大家借鉴参考。
第1篇:基于研讨式教学的外国文学史课程教学实践内容摘要:相对于传统的教学方法,研讨式教学是一种以学生自主学习为主、强调学生的主体性特征的教学模式。
本文试图以斯丹达尔专题的教学为例,来分析在外国文学史课程教学中实践中,研讨式教学模式在培养与提高学生文学素养方面所具有的优势。
关键词:外国文学史研讨式教学实践作为中国语言文学的一门专业基础课,外国文学史是在学生已经具备了一定的文学理论基础,并在学习了中国古代文学、现当代文学之后,在高年级才开设的一门课程。
该课程的基本教学目的一方面是要求学生能够了解中国之外其他国家文学的概况(包括世界文学的发展演变的脉络、各时期的作家作品),另一方面是要求学生在对外国经典作品的学习过程中,培养学生的文学评析能力,并在比较关照的视域中加深对中国文学的认识。
在文学类课程的教学中,教师们往往采取的是讲授法的教学方式。
教师通过课堂讲授,将文学思潮的来龙去脉等文学史知识灌输给学生,也以同样的方式将经典作品“解读”给学生。
在这样的教学过程中,一堂堂本应生动形象的文学课硬生生变成了死记硬背让学生害怕的速记课,毫无审美色彩可言。
很多高校教师苦苦思索,试图打破这一尴尬的局面。
一些有志于教学改革的学者“发现”了研讨式教学模式,并将其运用到教学实践中。
一.研讨式教学模式及其可行性分析作为一种新的教学模式,研讨式教学是在“研”的基础上“讨”,它是在教学中利用学生已有的知识结构,引导学生以自学的方式,运用已有的知识来对指定的对象进行研究,自己发现问题、分析问题并解决问题,在研讨的基础上巩固知识、学习新知识,培养学生的动手能力与逻辑思维的能力。
相对于传统讲授法的教师讲、学生听与记的情况,研讨法可以说真正做到了以学生为主体。
三、简要论述1.比较柏拉图和亚里士多德的模仿理论的异同柏拉图和亚里士多德都认为艺术“模仿”;但二人“模仿说”却有很大不同..1模仿的对象柏拉图认为;艺术家模仿的是现实世界可感的实物;而现实中的实物并不是本质; 不是真理;这些实物是理念世界的复制品..柏拉图将理念世界中的概念称为理式;每种物体都有一个理式;;而且这个理式是唯一的..他认为;理式“先于现实世界、高于现实世界;是世界的本原;先有理式然后才有个别的具体事物”.. 在理想国第十卷中;柏拉图“床”的例子阐释了艺术、实物以及理念世界三者的关系..亚里士多德也认为艺术是模仿;但是他并不像柏拉图那样认为艺术是虚假的;和现实世界“隔着两层”..亚里士多德认为艺术是真实的;艺术所模仿的不是现实世界的外形;而是现实世界所具有必然性和普遍性的本质和规律..至于模仿的对象;亚里士多德认为诗模仿的是“在行动中的人;而这种人有必然是好人或坏人——只有这种人才具有性格...他们所模仿的人物不是比一般人好;就是比一般人坏”;这点与柏拉图的诗模仿“性中的低劣的部分”的观点也不一样..2艺术才能的来源柏拉图认为模仿的诗人对所模仿的事物一无所知;本身也不具备什么艺术才能;而是要靠神来给予启示和“灵感”..在伊安篇中;他用磁石的例子来说明这个道理..诗歌的最终创作者并不是诗人;;而是神;诗人只是“神的代言人”..相反;亚里士多德则很重视人的智慧与能量..他认为模仿是人的本性;人与禽兽的区别之一就在于人善于模仿..3艺术的功用柏拉图认为艺术不仅不能反映真实;还会欺骗人;使人远离真实;阻碍人们对真实的认识..他觉得诗歌能激起人性中的低劣部分;因此应该驱逐出境..亚里士多德则任务艺术不应被谴责;而应被发扬光大..模仿不仅能让人获得知识;;还能让人感到快感..4对艺术的态度柏拉图对艺术持否定态度 ;而亚里士多德对艺术持肯定态度..柏拉图认为文艺应为贵族统治阶级服务;反对现实主义;否定文艺的真实性;其“模仿说”带有一定政治色彩..而亚里士多德承认艺术反映现实;具有高度真实性;并且认为艺术可以高于现实..与柏拉图截然相反的是;亚里士多德对艺术持肯定态度;;认为艺术可以教育人;“净化”人的心灵..2.比较亚里士多德的诗学和贺拉斯的诗艺1文艺与现实的关系亚里士多德首先提出了文艺的本质是对人生的模仿..与柏拉图完全不同的是;亚里士多德肯定了“模仿”这一艺术形式;打破了柏拉图模仿与理式隔着三层的观念..此外;亚里士多德还在文章中肯定了模仿作为人的一种本能;而模仿所表现的普遍本质规律也往往需要借助特殊的具体形象来呈现..在对文艺的本质问题的看法上;贺拉斯基本上保持了和亚里士多德观点的一致性..他提出了艺术是对生活的模仿;作家应“到风俗中到生活习惯中去寻找模型;从那里汲取活生生的语言” ..2文艺的创作在文艺创作方面;亚里士多德诗学主要向读者阐述了悲剧这一艺术形式..作者采用了大量笔墨解释悲剧的定义以及构成悲剧各要素之间的关系..“整个悲剧艺术包含形象、性格、情节、言词、歌曲与思想”;且“六个成分里;最重要的是情节;即事件的安排”..在亚里士多德的观念里;由事件连缀成的情节构成了悲剧的目的所在;据此他也推断出情节要符合“整体化”原则..在文学创作问题上;贺拉斯的诗学的论述则是偏重从观众角度出发去看待某一具体的文学作品..即“一首诗仅仅具有美是不够的;还必须有魅力;必须能按作者的愿望左右读者的心灵”..而且贺拉斯在亚里士多德“情节整一化”基础上进一步提出了“得体原则”;即部分与整体的和谐统一..具体体现在;选择事件要条理分明;安排字句要考究小心;语言要符合习惯等等..从内容方面;贺拉斯对文艺提出了更高的要求;他提出了文艺要有“雅”、“俗”之分;为新古典主义的产生奠定了理论基础..3美学影响和社会功用在亚里士多德的诗学中;美是一种真实的快感;是可知可感的..关于这一点;亚里士多德还在其着作中还具体阐述了悲剧和喜剧快感的差异性及其原因..而贺拉斯诗艺中的美学思想似乎更加明确和系统化..“和谐、折中”的思想在诗艺中多有体现..至于社会教化方面..亚里士多德在其诗学中肯定了悲剧的净化作用..贺拉斯也是赞同这种功用的;他也在其文章中传达了“寓教于乐”、“学”与“娱”两不误的观念..亚里士多德和贺拉斯都肯定了“模仿”的真实性及其社会基础;他们二者观点上没有过多的向左之处..只是作为后继者的贺拉斯;在亚里士多德观点的基础上进一步补充说明并且发展完善而已..当然;贺拉斯的个别观点对于今天的读者来说;也应保持一种中立态度..比如其诗艺中传达出所谓“高贵”的评价原则也代表了一定的阶级局限..3.简述亚里士多德的悲剧理论在西方美学史上;真正奠定了悲剧理论基础的乃是古希腊的亚里士多德..他在诗学中对古希腊的悲剧艺术进行了系统的理论总结;对于悲剧的情节、人物以及悲剧艺术的审美特征等问题进行了全面的深刻的探讨..他认为;“悲剧对于一个严肃、完整、有一定长度的行动的模仿”;这可以说是悲剧理论史上第一个较为完整的定义..他对于悲剧理论的另一个重要贡献在于他对悲剧艺术带给人们的审美体验的深刻分析..他认为;悲剧能够借助于引起人们的怜悯和恐惧之情来使人们的灵魂得到净化和陶冶..1.亚里士多德在诗学中为“悲剧”下了一个定义:“悲剧是对一个严肃、完整、有一定长度的行动的摹仿..它的媒介是通过‘装饰’的语言;以不同的形式分别被用于剧的不同部分;它的摹仿方式是借助人们的行动;而不是叙述;通过引发怜悯和恐惧使这些情感得到疏泄..”2.同时;亚里士多德指出悲剧的六个成分:形象、情节、性格、言词、歌曲和思想;其中;“情节是悲剧的根本;用形象的话来说;是悲剧的灵魂..性格的重要性占第二位..”而这六个成分中;事件的合理安排是悲剧中第一位的;也是最重要的..完整的活动具有开端;中间;结尾..一部悲剧是由部分构成的整体;其组成部分不仅要排列有序;而且必须具备量度..这一系列或出于必然;或出于或然而继随发生的事件中;人物由逆境转入顺境;再由顺境转入逆境;这一长度即是比较合适的界限..3.同时;亚里士多德还提出:作为对一种行动摹仿的情节;它必须摹仿单一的和完整的行动..组成情节的事件必须严密布局;以至于如果搬动或删除其中的任一成分;整体将会松散和崩溃;也就是悲剧的情节应达到整一..这就是悲剧论的情节整一律..古典主义理论家把亚里士多德悲剧情节结构的整一性理论发挥成“三一律”;即时间整一律、地点整一律、情节整一律..4.亚里士多德认为;悲剧的效用是引起我们的怜悯;从而是心灵得到净化..最完美的悲剧取材于少数家庭的故事..悲剧的目的不在于摹仿人的品质;而在于摹仿某个行动;剧中人物的品质由他们的“性格”决定..而他们的幸福与不幸都取决于他们的行动..悲剧人物之所以陷入厄运;不是由于他们为非作恶;而是由于他们犯了错误..我们可以看出;最完美的悲剧冲突是发生在“亲属之间”或“家庭之中”;并且是由人物自己的“行动”和“过失”造成的;这种悲剧冲突可以理解为“内部冲突”;悲剧人物产生于“自己人”的相互残杀和自身各种行动的矛盾对立之中..这就是悲剧的冲突论..5.人物可以说是一部小说的中心;同样在悲剧中人物的选择也是特定的..亚里士多德认为对悲剧人物性格的刻画应该做到四点:“第一;性格应该好;第二;性格应该适宜;第三;性格应该相适;第四;性格应该一致..”也就是说性格应该复合人物的身份;与现实生活中的人物相似;性格应该前后一致;也应做到“寓一致于不一致中”即人物的“性格”基本上是一致的..亚里士多德突出强调了悲剧总是摹仿比我们今天好的人;这种好应该超出一般人..亚里士多德认为理想的悲剧人物应当是介乎好人和坏人之间的人;即犯过失的好人..“这些人不具十分的美德;也不是十分的公正;他们之所以遭受不幸;不是因为本身的罪恶或邪恶;而是因为犯了某种错误..”4.朗吉努斯从哪些方面论述崇高风格的1. 首先;文章明确了“崇高”所论述的对象:在文章一开篇;作者便指出“崇高;总是体现在一种措辞的高妙之中”..而这正反映了这篇论文讨“崇高”的主要对象:文学作品..当然;在文章第三十五节中我们看到“崇高”已经超出了文学的范围;扩展到自然界;真正成为一个审美范畴..2.其次;文章提出了文学“崇高”风格的标准:第一;作品要获得不同人群的共同喜好;并且经久不衰;能赢得不同时代的人们一样的赞许和肯定:“我们可以认为永远使人喜爱并且使一切读者喜爱的文辞就是真正高尚和崇高的..”这一观点其实是普遍永恒标准说或绝对标准说的体现;第二;“崇高”应该具有这样的效果:一方面;它是“专横的”“不可抗拒的”;而且;“如果在恰当的场合提出;就会以闪电般的光彩照彻整个问题;而在刹那之间显示出雄辩家的全部威力..”还有它“对听众产生的效果不是说服而是狂喜”..也就是说;作者强调了“崇高”应引起的强烈、震撼、兴奋等情感效果..另一方面;作者还认为一部真正崇高的作品应该是和伟大高尚的心灵相一致的;它应该能起到提升读者的精神境界;启发他们的心智;引起他们对作品之外的更为神圣的事物的追求;并长久占据他们的心灵的效果..3. 再者;文章重点讨论了“崇高”风格的五种来源:“庄严伟大的思想”、“强烈而激动的情感“、“藻饰的技术”、“高雅的措辞”以及“整个结构的富丽堂皇”..并指出前两点取决于天资;后三种依赖于技术;而语言能力是这些因素的共同基础..4. 朗吉努斯不但指出了崇高的审美意义;而且认识到了崇高的审美意义在于提升人的精神境界和思想高度..朗吉努斯指出:“真正伟大的作品;是百读不厌的;很难甚且不可能抵抗它的魅力; 它留给你牢固的、不可磨灭的印象..”5.在画论中达·芬奇是如何逆转绘画的传统地位的达芬奇画论在提高了绘画在人文艺术中的地位;对各类艺术的特征有独到的见解..在古希腊时代;舞蹈、音乐、文学等由艺术之神缪斯掌管着;它们不同于技艺;而绘画和雕塑由于其模仿手段是色彩和造型;因此被认为只稍微高于一般的工艺或制造艺术;在人文艺术中没有地位..绘画真正获得地位是在意大利文艺复兴时期;达芬奇第一次系统地把绘画与诗歌、音乐、雕塑进行了比较;认为绘画是最高尚的艺术..一达芬奇认为绘画高于诗歌.. 达芬奇说:“在表现言词上;诗胜画;在表现事实上;画胜诗..”但是;绘画是把物象陈列在眼前;使眼睛把物象当成真实的物体来看..而诗用语言把事物陈列在想象之前;诗歌依靠想象;想象所见及不上肉眼所见的美妙..这样;从外在表现的方面来说;“绘画与诗的关系正和物体与物体的影子的关系相似”;因为想象与实在的关系“犹如影子和投射影子的物体之间的关系”..达芬奇认为;绘画替最高贵的感官———眼睛服务;眼睛是心灵之窗;诗则替较逊色的感官———耳朵服务..如果诗人把绘画称为哑巴诗;那么诗也可以叫做瞎子画..从效果上看;在一幅画能产生协调的比例;犹如齐唱;诗则不然;不得不把构成整个画面协调的各部分分别叙述;其结果就如同听音乐时在不同时刻听到不同声部;毫无和声可言..因此;绘画高于诗..二达芬奇认为绘画高于音乐.. 达芬奇说:“音乐应当被称为绘画的妹妹..”因为;在描绘无形体方面;音乐胜过诗歌..诗人又难以望音乐家之项背..音乐的和声产生于同时响出的、合乎比例的各部分的联合;这一点与绘画相似..但音乐的和声在节奏中生灭;不能经久不变..绘画则不会方生方死;它生动地保存了人们昙花一现的美..三达芬奇认为绘画高于雕塑.. 达芬奇说:“雕塑不是一门科学;是一项最最机械的手艺”..因为雕塑家只要简单地量量四肢;懂得动态和姿势的原理便足够了;对于透视毫无所知..同时雕塑缺少色彩美;也没有远处物体朦胧的轮廓;同时无法表现物的透明和光泽..画家创作时需考虑光亮、暗影、色彩、体量、外形、位置、远、近、运动与静止十个项目;需要高超的智慧和技巧;其中也包括雕塑的技能..绘画作品在二维的平面上呈现出许许多多雕塑家不敢梦想的东西..因此;虽然雕塑和绘画二者都能经久;但绘画更美观;更富于想象;更便于理解;因而拥有了雕塑不具备的无穷的可能性..通过这些比较;达芬奇得出的结论就是:绘画艺术是一切艺术中最高尚的艺术..6.阐释康德的美的艺术的特征在康德看来;艺术活动和鉴赏活动是一种相关的平行活动;鉴赏活动是基于自由地对对象的情感判断;而艺术活动是基于自由的能动创造..艺术活动的本质是人基于理性之上的自由创造;艺术作品正是这种基于理性之上的自由创造的结果..所以;康德指出:“我们出于正当的理由只应把通过自由而生产;也就是把通过以理性为其行动的基础的某种任意性而进行的生产;称之为艺术..”一、艺术活动是人基于理性之上的自由创造艺术的本质是自由创造;好象是游戏;美的艺术是最能体现艺术自由本质的艺术;因而更集中体现在游戏的特征上..游戏这一概念在康德美学中有着十分重要的意义;对西方美学的发展也产生了重要的影响..二、美的艺术是最能体现艺术自由的艺术艺术不仅是人基于理性之上的创造活动;它还是一种对于理性的自由的观照或直观;这种自由的观照就是要求艺术要做到使其理性目的显不出任何痕迹;虽有理性但却看不到任何理性;虽是趋向于某种理性概念;但却觉察不到任何概念;显露在人们面前的只是同生活本来面目一样的形象..“美的艺术作品里的合目的性;尽管它是有意的;但却不显得是有意;就是说;美的艺术必须看起来像是自然;虽然人们意识到它是艺术..”这一关于自由的观照是其游戏说的精髓所在;贯穿于他的艺术理论的始终..康德认为;艺术的这种“自由的游戏”的本质特征就是无目的的合目的性..这种本质特征实质上就是无目的性与合目的性;无意图性与有意图性;艺术与自然的统一..三、审美意象是一种理性观念的最完美的感性形象显现审美意象是与理性观念相对立的一个概念..在判断力批判里经常出现这两个概念..理性观念是指那种包含着深刻丰富内容的理性概念;没有任何一个直观表象能和这理性概念相切合..理性观念主要分为经验界和超经验界两种:领域界观念;如:死亡、罪恶、坚强、宁静等;超经验界观念;如:永恒、创世、神灵;自由等..审美意象是指一个包含着深刻丰富理性概念的直观表象;没有任何一个概念能与这直观表象相切合..四、审美意象对于康德美学中形式与内容矛盾的融合在“美的分析”部分;康德所理解的纯粹美只限于极小部分的自然和艺术;而且自然美和艺术美在他的心目中还是两个对立的概念;没有统一起来..但是在这里;他却把自然美和艺术美统一在审美意象的表现里;并且指出分别在于创造者对艺术作品的目的胸有成竹;而欣赏者则只对有所表现的自然对象的形象进行关照;它们所表现的内容都是理性观念的感性形象显现..7.描述黑格尔的美学中“美的理念”的运动过程“美的理念”是具体的..这种具体表现在它既不同于抽象的“逻辑的理念”;也不同于抽象的“自然的理念”;而是作为“理念”与“感性形象”的统一展现出来..黑格尔说:“作为自身具体、自体发展的理念;乃是一个有机的系统;’一个全体;包含很多阶段和环节在他自身之内..”逻辑学、自然哲学、精神哲学都同属于“理念”自身发展的有机系统;早分别描述“理念”发展的三大阶段..与这二大阶段相对应的“逻辑的理念”一一“自然的理念”—“美的理念”是黑格尔整个哲学体系中“理念”自身发展的逻辑序列..这一发展序列就是“绝对理念”的不同规定的全面展开..作为最初的“理念”;它的内容还没有展开出来;因此是最抽象最简单的“理念”;在“理念”发展过程中;内容逐渐展开出来;“理念”就逐渐变得愈来愈具体..在“理念”只是作为“理念”发展时;它还没有把目身对象化出来;没有通过对象化来反映自身;因此;这时一的“理念”还只是逻辑学中的“逻辑的理念”..黑格尔说:“这个理念还是逻辑的;它包括在纯思想之内;只是神的概念的科学..”“逻辑的理念”没有走出自身之外.来外化出自然这个客体;主休无法与客体结合.还不是整体;仅仅是一个方面;是片而的抽象的..“理念”具有“自知”自勺精神.能通过自身否定而使自身异化为自身异在..既然逻辑学是一个不现实的、最、象的“阴影的王国”;“理念”就不能仅仅停留在逻辑的阶段;它必须进入到自然和精神的阶段..“逻辑的理念”怎样才能走出自身之外只有通过“外化”;即主体通过外在化;异化为自:身的客体..在自然的阶段;“理念”产生了自然;而自然又反过来束溥了“理念”;使“理念”陷入了不自由的决态..这时的“理念”;披上了自己建立起来的自然的外衣;成为有物质外壳包藏着的“理念”..这种“理念”就是“自然的理念”..“自然的埋念”的目标是抛弃自然和精神的分离;作为精神回到自身..“理念”通过异化及异化的抛弃;已不再是表现为它的抽象形态—“逻辑的理念”;不再是“自然界的形而上学理念”1;而是成为“具体的理念”..黑格尔把自然变成思想的内容;消除了自然与精神的对立;克服了各自的片面性和抽象性;从而达到了统一;达到了有意识的状态;产生了精神..精神哲学按照精神发展分为“主观精神”、“客观精神”和“绝对精神”三个阶段..“绝对精神”是通过三种形式来认识自己;即艺术、宗教和哲学..艺术作为“理念”自我认识的一个方面;它的内容是“美的理念”;而它的形式是这一“美的理念”的感性的、形象的表现..艺术则必须通过感性的具体形象来显现“美的理念”..当艺术作为内容与形式的统一物出现时;就达到了“理念的现实性”;这就是“美的理念”..8.比较在拉奥孔中莱辛与温克尔曼的观点异同莱辛从拉奥孔雕像群入手;通过对画与诗艺术规律的比较;驳斥了温克尔曼主张“诗画同一”和崇高“单纯静穆”的观点..证明雕像群中的拉奥孔之所以不哀号;是为了遵循造型艺术的特殊规律..一、画与诗拉奥孔在开篇第一章就“为什么拉奥孔在雕刻里不哀号;而在诗里却哀号”进行了讨论..莱辛引用了温克尔曼的观点和话语作为开头:“他温克尔曼认为希腊绘画或雕刻经典杰作的显着特征是;无论在姿势上还是表情上;它们都显出一种高贵的单纯和静穆的伟大”.. 温说“不管海面上波涛多么汹涌;大海的深处总是静止的;希腊人所塑造的形象在一切激情之下他们仍表现出一种伟大而沉静的心灵”..接下来莱辛详细的阐述了画与诗的界限和区别; 对温的观点加以批驳..莱辛从三个观点来考虑诗画异同问题:1. 绘画用空间的形体和颜色来模仿;而诗却用在中发出的声音达到相近的目的;也就是二者模仿所用的媒介或者说是符号不同..2. 绘画的媒介比较适合表现全部或部分在空间并列的事物;“物体连同它们的可以眼见的属性是绘画所特有的题材”; 诗的媒介比较适合表现全部或部分在时间中先后连续事物; “动作是诗所特有的题材”..3. 从人的感官来看;画是通过眼睛来感受;眼睛可以摄入空间共存的事物;所以适宜静止的物体;诗是通过耳朵来接受的;声音一纵即逝;所以不适合于听并列的罗列;而适合于听先后连续的事物..但是莱辛也承认;一切事物都在空间和时间中存在;一定程度上诗也可以描绘物体;画也可以叙述动作..但绘画只能通过物体;用暗示的方式去模仿动作;用动作中最富孕育性的那一刻引导观众去理解;而诗也只能通过动作用暗示的方式去描绘物体;运用物体的某个属性“引发其最生动的感性形象”的属性..莱辛为此举了荷马对事物的美的描写为例指出“凡是不能按照组成部分去描绘的对象;荷马就使我们从效果上去感觉到它”;荷马避免对事物美作细节描写;而通过特洛伊国元老们对海伦的议论暗示海伦的美..9.简述悲剧的诞生中尼采的悲剧理论尼采的第一部系统讨论美学与文艺学问题的着作是悲剧的诞生;尼采将悲剧作为其第一部文艺理论着作的讨论主要内容;可见尼采对悲剧的独到感情..在这部书中;尼采以古希腊文学为研究对象;探讨并阐释了艺术的起源;功能及其对个体生命的意义;提出了其美学和文艺学思想中两个重要的范畴——“日神精神”与“酒神精神”;并在此基础上论述了悲剧的诞生与衰落..日神精神中的日神指的是太阳神阿波罗Apollo;阿波罗是光明之神音乐之神诗歌之神男性美之神;被赋予了多种职能和文化意义..在希腊神话里;阿波罗既具有艺术的魅力又预示着生命和希望..尼采的日神精神是借用日神来象征追求世界和人生的美丽外观的精神本能..日神精神就是要创造一个光明灿烂的梦幻世界的冲动..它的目的是要给人们到来安宁平衡和谐的精神状态;达到对个体生命的肯定..、酒神狄奥尼所斯是葡萄酒神与狂欢之神..人在痛饮之后;狂欢之中处于的是一种迷狂的迷失自我的状态..在这种状态下;人的主动自我的意识几乎丧失;处于模糊阶段;对于外界的感觉完全处于自己的原始感觉..酒神精神是人在面对痛苦时所采取的一种超越姿态..。
中国古代文论与西方文论区别其一,原始文献方面,古代文论要求忠实于原意原貌,重注释轻翻译,为了不失原意,宁愿不合现代汉语习惯,牺牲流畅度;同时,校对、注释分歧很多,更加使得翻译疙疙瘩瘩。
有的专家明确表示,古代文论不能准确翻译概念,不能给出确定的翻译,只能是多角度展开论述,让读者把握多方面意义,获得多方面思想收获或启发。
学生看这样的译注和论述未必理得清楚,容易一头雾水,而且原有语感会被破坏,表述磕磕碰碰,乃至影响到思维顺畅。
解决的办法是,细读细读再细读,然后,“将欲解结,务在刚断”,一定要果断地写出来,果断地调顺。
做西方文论学位论文,主要是阅读译本,多数外文原著的译本只此一家,如若有误,可以视为有意义的误读,研究生足以为据。
有些名著会有更好的新译本,就更足以为据了。
研究生一般能读英文原著,英文论著讲章法,问题观点突出,结构简明,内在逻辑清楚,用词造句平易,表达自然流畅,这种阅读,可以潜移默化地影响到学生的表达。
当然,也要警惕有些译者不负责任或能力欠缺。
记得2003年人大读博时,一位同学在外兼课,一节一百元;一位同学是外语系副教授,有人请他翻译英文著作,千字60元,果断拒绝。
啥人会接呢?考虑到译本可能不好,务要注意核查英文原著。
如果研究对象非英语著作,仍然要坚持核查乃至借助字典阅读原始文献。
因此,不做学问、不从事相关工作的同学最好避开这类选题。
其二,意义价值方面。
古代文论和西方文论当然不能分高下优劣前沿落伍,但是西方文论直接关注事实与现象,注重实操性,方便运用于分析评论,似乎还重视听众,在意传播与接受,因此普及性要高一些。
文学理论普及程度一是与教育普及程度有关,二是与是否急功近利有关,如果是,就会疏远理论;如果笃信理论的长远作用,就能够静心掌握理论武器。
如果古代文论不注重现实意义与价值,不注重普及和可操作性,那不仅急功近利的人敬而远之,相信无用之用为大用的人也可能敬而远之。
西方文论建构了一个独立的知识系统,中国古代文论要么是在国学、传统文化系统中讨论,其意义价值显得宏大而高不可攀;要么是按照西方文论、马列文论、美学来建构,其意义价值显得是在攀附乃至牵强附会。
AS1001123 梁思莉从马克思文艺观看精神分析批判摘要:马克思文艺观是立足现实生活的,人能按照美的规律来改造世界,获得审美体验,他的批评是一种特殊的社会历史批评,跟他的文艺观具有一致性;而弗洛伊德的精神分析则认为艺术是人本能的升华,他的文艺批评,很多都是从“俄狄浦斯情结”出发的。
两者在文艺创作的动力和社会功用上都有所差别,甚至是对立的。
关键词:马克思的文艺观、马克思的批评观、弗洛伊德的精神分析、俄狄浦斯情结、创作的动力、文艺的社会功用在比较马克思文艺观和弗洛伊德的精神分析法两者之前,先来了解一下马克思文艺观及其批评观的具体内容。
1、文艺的本质是什么?这方面,马克思关于文艺是审美的创造,是社会上层建筑的意识形态的观点特别重要。
马克思在《1844年哲学—经济学手稿》中曾提到:“动物只是按照它所属的那个种的尺度和需要来建造,而人却懂得按照任何一个种的尺度来进行生产,并且懂得怎样处处都把内在的尺度运用到对象上去;因此,人也按照美的规律来建造”。
马克思肯定文学艺术的美的特质,由于人具有按照美的规律来建造事物的创造性能力,能将人的本质对象化,能借助想象的形象化去改变和加工所表现的对象,使之更典型,更理想也更美,因而,文艺作品被创造出来的艺术美才更高。
这就为文艺是审美的意识形态的论断提供了根据。
马克思的文艺创作论,马克思在《〈政治经济学批判〉序言》中说过一段很著名的话:“物质生活的生产方式制约着整个社会生活、政治生活和精神生活的过程。
不是人们的意识决定人们的存在,相反,是人们的社会存在决定人们的意识。
……随着经济基础的变更,全部庞大的上层建筑也或慢或快地发生变革。
”从马克思主义的辩证唯物主义的反映论,即人的意识与存在的辩证关系来看,自然要把现实的社会生活看作文学艺术创作的源泉。
对创作过程,马克思强调过想象和幻想的作用,恩格斯论述过巴尔扎克的现实主义艺术方法与其世界观的矛盾,说明创作的主体及其思想在创作中并非完全不起作用。
学号:***********西方文论论文学院文学院专业汉语言文学年级2009级姓名杨夏清论文题目浅析女性主义指导教师朱庆福职称副教授2012年6月2日目录摘要 (3)关键词 (3)前言 (3)一、女性主义产生的原因 (4)二、女性主义的影响 (5)(一)社会科学领域 (5)(二)文学创作领域 (7)参考文献 (8)浅析女性主义摘要:女权主义,又叫女性主义,它是近、现代西方的一种社会和政治思潮,女权运动的意识形态。
基本特征为争取妇女的权益,要求保护并扩大她们的应得权利。
认为女性一向为习惯势力和法律的歧视和限制,享受不到与男性同等的政治、经济、文化和社会地位。
那么女权主义它产生的根本原因是什么呢?它在社会科学领域及文学创作上又产生了怎样的影响呢?关键词:女性主义;原因;影响;社会科学;文学创作前言女权主义批评是与西方妇女解放运动的发展分不开的,特别是20世纪60年代西方第二次女权运动的高涨,直接引发了女权主义文学批评。
西方妇女解放运动第一次浪潮出现在19世纪后半叶到20世纪初期,以1920年至1928年英美妇女获得完全的选举权为达到高潮的标志。
60年代后出现了第二次女权运动。
这次女权运动的大背景是法国和西欧的学生造反运动,以及美国的抗议越战的和平运动、黑人的反种族歧视运动和公民权运动。
欧美政治斗争的风起云涌,成为这次妇女解放的直接导火线。
这次女权运动已超越了第一次女权运动争取妇女财产权、选举权的范围和目标,逐步深入到就业、教育、福利和政治、文化各领域,并努力上升到对妇女的本质和文化构成的探讨,“它包括一名妇女应是什么的真正问题,我们的女性气质和特征怎样界定、以及我们怎样重新界定的问题,它包括反对妇女作为供男性消费的性欲对象的战役,反对色情描写、强奸等暴力形式;妇女解放运动关心妇女的教育、福利权利、机会的均等,工资、工作环境选择的自由,妇女有了孩子后的生活,是否要孩子以及什么时候要孩子的权利;关注父权制的压迫方式,它和阶级及种族对妇女的压抑等等”。
试论莱辛《拉奥孔》的主要文论思想摘要:莱辛的《拉奥孔》是一部非常具有影响力的西方近代美学著作,副标题为《论画与诗的界限》。
他以雕像群“拉奥孔”为题,在古典雕刻和古典诗中的不同的处理,比较了诗与画在表现形式上的不同,论证了诗和造形艺术的区别和界限,但同时又有着不可分离的美学视角,对两者都有不同角度的思考。
关键词:莱辛拉奥孔诗与画美学思想莱辛是德国杰出的戏剧家、文论家、美学家、哲学家。
是德国文学史上第一个职业作家。
是十八世纪德国启蒙运动杰出的代表人物。
他批判古典主义文艺观,倡导具有启蒙精神和民主色彩的新兴阶级文学观。
而莱辛的《拉奥孔》是启蒙文论的里程碑。
拉奥孔雕像表现的是特洛伊城的祭司拉奥孔和他的两个儿子被大蛇绞住时痛苦挣扎的场景。
莱辛就这一雕塑作品和维吉尔史诗《伊尼特》中相关内容进行比较,发现了几个不同点。
莱辛不同意温克尔曼对此所说的“希腊杰作有一种普遍和主要的特点,这便是高贵的单纯和静穆的伟大”古典文艺之最高理想即“静穆”,认为史诗和雕像处理的不同来自不同的摹仿媒介、题材、审美感受。
他结合许多例证,写了《拉奥孔》,阐释了他的诗与画不同的观点,文中对诗画特征的描述和两者区别的分析成为西方美学史上诗画理论的经典作,文中的理论意义和美学价值十分丰富。
莱辛在《拉奥孔》中,清楚地划分了诗与画的界限。
莱辛认为,绘画、雕刻等造型艺术属于空间艺术,受空间规律的支配;是属于时间艺术,受时间规律的支配。
所以他从媒介、模仿的对象以及审美的效果三方面来探讨了诗与画的界限。
第一,两者的媒介不同。
在莱辛看来,绘画是用线条和色彩等“自然的符号”来完成某种空间中的形体,诗所使用的是声音和语言等“人为的符号”,在时间的关系中叙述事物。
第二,两者的题材不同,绘画由于是一种空间艺术,因而它适合于表现空间中的一个或一组对象,适合于表现看得见的静态的物体,它的主要目地在于追求物体美;诗是时间艺术,适合于表现在时间维度上承续的动作,适合于表现动态的事物,它的主要目的是通过对动作或行为描写反映事物的动态美。
An Incomplete Man: An Analysis of Mr. Hooper in The Minister`s BlackVeil with Freudian Personality StructureContent1 Introduction2 Brief Introduction to Freud`s Id, Ego and Superego3 Severe Id-repression of Mr. Hooper4 The Disorder of Mr. Hooper`s Ego5 The Overwhelming Success of Mr. Hooper`s Superego6 Conclusion1 IntroductionNathaniel Hawthorn is the founder of American psychoanalytic novel and regarded as the greatest romantic novelist during the 19th America. One of his central focus is the completeness of human being. The goal of this paper is to explore the incompleteness of Mr. Hooper in The Minister`s Black Veil with Freudian Personality Structure: id, ego and superego, aiming at digging out the nature deep in Mr. Hooper`s consciousness.Critics explain this short novels, especially its main character priest Hooper, from various levels and perspectives. For instance, feminists regard Mr. Hooper as a Sexual Escapist, just like Elmer in Birthmark and Brown in Young Goodman Brown. Some think that Mr. Hooper is arrogant; some regard Mr. Hooper as a demon. In Shang Xiaojin`s Nathaniel Hawthorne Selected Readings and Critical Inthrodutions, the author thinks that Mr.Hooper has, just like Nathaniel Hawthorne, a sober awareness about human being`s crime, and wants to call forth people`s perception of crime, aiming at purifying human being`s soul and perfecting human being`s morality. However, on the other hand, Mr. Hooper has certain doubt about moral superiority, and is caught in egoism, like Ethan Brand---one of Nathaniel Hawthorne`s fictional character, so that the chain, connecting human being`s friendship and affection is cut off. In one word, the interpretation of Mr. Hooper is various. SamuelCoale summarizes these various explanation as follows:Mr. Hooper, regarded by people as a sinner, nearly a demon, is a man who is without belief, arrogant, blasphemous, and addicted to sin. He is also an obsessive religious fanatics, a cruel Calvinist christian, a principal criminal of the most heinous guilt, a coward afraid of women, a Sexual Escapist and doomed to be lonely, lost and despair. He is a vivid moral allegory.It seems that most of the studies about Mr. Hooper neglects one of Nathaniel Hawthorn`s main focus: the completeness of human being. Therefore, this paper is going to study the protagonist Mr. Hooper`s completeness.In order to achieve this goal, this paper is divided into four chapters together with an introduction and a conclusion.The introduction begins with a brief introduction to the goal of this paper , then the literature review and last the organization of this paper.The second part is a brief introduction to Freud`s personality structure, that is, id, ego and superego, aiming at offering a theoretic basis for this paper.The next three parts argue why Mr. Hooper is an incomplete man from three parts based on Freud`s theory. Firstly, the severe id-repression of Mr. Hooper, secondly, the disorder of ego, and last the overwhelming success of Mr. Hooper`s superego.All in all, this paper holds the idea that Mr. Hooper in The Minister`s Black Veil is a incomplete man.2 Brief Introduction to Freud`s Id, Ego and SuperegoAccording to the theory of Freud's psychoanalysis, human mind is like a huge iceberg. The invisible section beneath the surface of it is defined as the unconscious driven out of unawareness which is called "id". The visible section of the iceberg is rational and reasonable awareness, and defined as the conscious which is called "ego". Above the "ego" is "superego". Freud's concept of the elements of personality states that the mind of the person is structured and is composed of three structural categories: id, ego and superego.In his essay "The Ego and the Id", Freud presents the "id" as follows: an individual is looked upon as a psychical id, unknown and unconscious. The id attracts all kinds of instinctual forces in order to find their mental representation. (Hanks, 1974:67) The instincts in the id press for immediate satisfaction, regardless of all else and in this way either fail of achievement or actually do damage. From the point of view of instinctual control, of morality, it may be said of the id that it is totally non-moral. (Ego, 1984:94)The“ego”, according to the 1974 edition of Encyclopedic World Dictionary defines it as “that part of the psychic apparatus which experiences the outside world and reacts to it, thus mediating between theprimitive drives of the id and the demands of the social and physical environment.”(Hanks, 1974: 514)The "superego" holds up certain norms of behavior, without regard to anydifficulties coming from the "id" and the external world. It is the part of the mind thatopposes the desires of the id by enforcing moral restrictions and by striving to attain agoal of "ideal" perfection. (Lahey, 1995:460-63) The Encyclopedic World Dictionarydefines it as "that part of the psychic apparatus which mediates between ego drivesand social ideals, acting as a conscience which may be partly conscious and partly unconscious." According to the fifteenth edition of Encyclopedia Britannica, the"superego" represents the internalization of parental standards and authority. In thenormal male child, it replaces the oedipal desire for the mother. The developingsuperego thus absorbs the traditions of the family and the surrounding society, servingchiefly to control sexual and aggressive impulses that threaten social structures.3 Severe Id-repression of Mr. HooperMr. Hooper is a puritan whose doctrines greatly limit his behaviors, concepts and daily life, which is the reason why Mr. Hooper`s ID is repressed severely.As we know, asceticism is one of the principles of Puritanism. Asceticism refers to opposition to unreasonable enjoy of one`s life or anything in one`s life because all these things, your life and anything inyour life, are given by the God. Any wasting of these things is blasphemy. Besides, Puritanism does not agree with anything without religious values, and puritans stands on the side of reason and science, opposing feelings and sense and arranging everything in a rational way. All these kinds of puritan asceticism are engraved in Mr. Hooper`s mind and become the doorkeeper of ID`s prison, preventing even one step of ID out the prison.In this short novel , a lot of things can reflect the great repression of Mr.Hooper`s ID. Next, this paper is going to talk about these things one by one.During the ceremony of Mr. Hooper`s parishioner, as a respected reverend, it is pastor Hooper`s duty to perform the ceremony, wish happiness to the new married couple, send God`s best wishes, and bring happiness and hope to their marriage life. All the above things are performed well by Mr. Hooper. However, what Mr. Hooper`s problem is the big difficult to be a happy and normal wedding gusts. “At that instant, catching a glimpse of his figure in the looking-glass, the black veil invovled his own spirit in the horror with which it overwhelmed all others. His frame shuddered, his lips grew white, he split the untasted wine upon the carpet and rushed forth into the darkness, for the Earth too had on her black veil. ”Although Nathaniel Hawthorne does not talk about the surprised faces of the new married couple and other wedding guest the moment when Mr. Hooper`s frame shuddered, his lips grew white, hesplit the untasted wine upon the carpet and rushed forth into the darkness. It is a piece of cake for us to imagine others` reaction to Mr. Hooper`s behaviors. Nobody will consider wedding ceremony as something so horrible or unpleasant that they are eager to escape from it as soon as possible. On the contrary, everybody like to participate the wedding ceremony, enjoying the happiness and wonderful hopes brought to them by the new married couples. However, this natural thing is so hard for Mr.Hooper, because his ID is under great repression. At first, Mr. Hooper does enjoy the happiness brought about by the wedding. “Mr. Hooper raised a glass of qine to his lips, wishing happiness to the new married couple in a strain of mild pleasantry that ought to have brighten the features of the guests like a cheerful gleam from the hearth.” From this part, we can see that Mr. Hooper`s ID is eager to enjoy the wedding happiness, but what happened and made him escape from the wedding ceremony? “Catching a glimpse of his figure in the looking-glass, the black veil......” It is his glimpse of the black veil in the looking-glass that forces him to shudder and escape from all these happiness he is ready to enjoy, that is to say, the glimpse of the black veil forces him to repress the desires of his ID and what`s more, the desires for happiness of ID is subject to the things desired by his superego.Mr. Hooper`s ID is always repressed by his superego. His superego not only represses ID`s desire for happiness, as is revealed in the weddingceremony, but also its desire for company.Nobody in Milford village wants to get close to Mr. Hooper, from the youngest to the oldest. “None, as on former occasions, aspired to the honor of walking by their pastor`s side. Old Squire Saunders --- doubtless by an accidental lapse of memory --- neglected to invite Mr. Hooper to his table, where the good clergyman had been wont to bless the food almost every Sunday since his settlement......”, “It was remarkable that of all the busybodies and impertinent people in the parish, not one ventured to put the plain question to Mr. Hooper wherefore he did this thing.......”There are many many examples to identify that Mr. Hooper is isolated by his parishioners after he wears his black veil. But regardless of others` alienation, Mr. Hooper insist in wearing his black veil, but with great pain because his quest of company from his self is repressed by his superego. He is lonely, from his dialogue to Elizabeth we can see that.”Take is not amiss, beloved friend, if I wear this piece of crape till then.””Have patience with me, Elizabeth! Cried he, …Do not desert me though this veil must be between us here on earth. Be mine, and thereafter ...... Oh, you know not how lonely I am , and how frightened to be alone behind my black veil! Do not leave me in this miserable obscurity for ever‟.” This part reveals that Mr. Hooper is miserable behind the horrible black veil. Under such circumstance, his ID must require to cast away the horrible black veil as soon as possible for the ID regards the “happy principle” asthe highest principle. However, Mr. Hooper does not do as what his ID requires for his ID is highly repressed.The severe repression of ID changes the originally highly respected reverend Mr. Hooper into a ghost-like human being.Mr. Hooper`s severe id-repression prevents him from enjoying the spontaneous overflow of his emotions and feelings, which indicated that he is a incomplete man.4 The Disorder of Mr. Hooper`s EgoAs we know, the main duty of ego is to mediate between Id and superego, satisfying Id`s happy desire on the one hand and meeting superego`s requirements on the other hand. However, things are not always going smoothly all the time. If one`s Id fails to achieve its duty, according to Freud, usually there will be two kinds of consequences. One is that the Id`s happy desire becomes in the dominant places and Id`s becoming privileged, which is regarded as the disorder of ego, will make one do what ever he can to be happy even violating social moral and legal principles. The other is that superego`s principles is in the dominant place, which also is regarded as the disorder of ego and as a result, one is tended to be a perfect guy doing everything following the superego principles, even at the cost of their happiness desired by the Id.All in all, the disorder of one`s ego will result in two different extremes. One is happy first, and the other is rule first. Following thisargument, we can easily put Mr. Hooper into the second group for in order to meet his superego principles, especially his religious doctrines, he gives up many many happiness including his marriage, which also reveals the disorder of Mr. Hooper`s ego. He can not have a good balance between the happy desires of his Id and the superego principles, so that he wears a horrible black veil. Next this paper is going to exemplify Mr. Hooper`s ego disorder.The most obvious evidence is his unwillingness to cast away his black veil that involves everyone in Milford village into great horror even himself. Under this condition, his Id must say to him “come on, guy, cast away that black crape, and get yourself out of horror”, while his superego must warn him that your casting aside it means the death of yourself. At the same instant, it is his ego like a mediator to balance these two enemies` different requirements. However, unfortunately, because of the disorder of his ego, Mr. Hooper says that so far as my vow may suffer me. Know, then, this veil is a type and a symbol, and I am bound to wear it ever, both in light and darkness, in solitude and before the gaze of multitudes, and as with strangers, so with my familiar friends. No mortal eyes will see it withdrawn. This dismal shade must separate me from the world; even you, Elizabeth, can never come behind it. He even does not allow his fiance to look behind that black veil for his disorder of his ego.The disorder of Mr. Hooper makes him unwilling to take away hisblack veil until his death. “But, exerting a sudden energy that made all the beholders stand aghast, Father Hooper snatched both his hands from beneath the bedclothes and pressed them strongly on the black veil, resolute to struggle if the minister of Westbury would contend with a dying man, …Never!‟ cried the veiled clergman. …On earth, never‟.” How horrible he is. His ego`s disorder has changed him into a ghost-like person.His ego disorder also buried his happy life with his fiance Elizabeth. He can not balance his relationship with Elizabeth and his superego rules. On the one hand, he wants to be with Elizabeth. After Elizabeth decides to leave him, Mr. Hooper cries that have patience with me, Elizabeth! Do not desert me though this veil must be between us here on earth. Be mine, and hereafter there shall be no veil over face, no darkness between our souls. On the other hand, he obeys his religious doctrines. If his ego functions well, it is possible for him to find a good solution to balance these two things. But he does not. He does not marry with Elizabeth until he dies.Mr. Hooper`s ego disorder makes him difficult to balance the happy principles from id and the superego principles. This paper thinks that it is the basic reason why Mr. Hooper is a incomplete man.5 The Overwhelming Success of Mr. Hooper`s SuperegoThe duty of one`s superego is to force him to be a perfect guy,following all social, legal, religious, moral etc. Rules, regardless of one`s personal willing. When the happy principles from the id always gives way to the superego, it will make one person have the image of rigidness, for all your body language, behaviors, or discourse are limited in the frame of the superego principles, without any personal emotions or any permission for jumping out this superego frame. This kind of id`s surrender is the result of the overwhelming success of superego, which can be often perceived from Mr. Hooper.Because of Mr. Hooper`s superego`s whelming success, he looks like a man in the condom. His steps are always quiet and slow. “Mr. Hooper pacing slowly his meditative way toward the meeting-house.”“Mr. Hooper walked onward at a slow and quiet pace......”“He entered with an almost noiseless step......”There is a superego principle called “asceticism”taking from his puritan doctrines, because of which, Mr. Hooper`s smile is always faint and weak, “A sad smile gleamed faintly from beneath the black veil and flickered about his mouth, glimmering as he disappeared.” It seems that anything from his id “happy principles”is held back by him, for the superego`s whelming success. He , in order to obey the religious rules, sacrifices his marriage. He will not cast away his black veil and says that no mortal eyes can see behind it, even though his beloved Elizabeth is going to leave him for his wearing that black veil. He says firmly toElizabeth “ Never! It can not be!”.In front of death, Mr. Hooper`s superego still achieve its overwhelming success. Although Mr. Hooper does not get married with Elizabeth, Elizabeth still be with his side until his death. How deep her love is! How loyal she is! However, unfortunately, the superego principles are the only things in Mr. Hooper`s eyes. He even does not show his appreciation or thanks to Elizabeth, let alone his deep love for her. He does love her, which can be seen from his great miserable when Elizabeth decided to leave him. How cold he is! How heartless he is to let down his beloved fiance.Mr. Hooper can never be the master of his superego. From this perspective, Mr. Hooper is a totally loser. Although he obeys his religious doctrines strictly, he is still an incomplete man.6 ConclusionOne man can be a complete man only if Freud`s three id, ego and superego all function well. However, none of Mr. Hooper`s three personalities work well. His id is under great repression; his ego`s function is in disorder; and his superego has two much privileged power. Therefore, according to Freud`s theory, Mr. Hooper is definitely not a complete man.From Freud`s theory of personality structure, Mr. Hooper is not a complete man. As we know, there are many many different ways toapproach a character, for example, Mr. Hooper. It is worth for us to take further exploration.ReferenceLeland S. Person, The Cambridge Introduction to Nathaniel Hawthorne(Shanghai Foreign Language Education press, 2008),1-16.Shang Xiaojin, Nathaniel Hawthorne Selected Readings and Critical Introductions (Shanghai University Press, 2010), 220-225N. S. Boone. “The Minister`s Black Veil”and Hawthorne`s Ethical Refusal of Reciprocity: A Levinasian Parable. Renascence, 2005, (57)3: 165-166.Newman Lea Bertani Vozar. A Reader`s Guide to the Short Stories of Nathaniel Hawthorne. Boston: G. K. Hall, 1979: 204.Hawthorn, Nathaniel. The Minister`s Black Veil. Translated by Huangxiao, Fudan University Press, 2014.Hawthorn, Nathaniel. The Minister`s Black Veil. 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