《他们眼望上苍》的拉康式探析

文学评论・外国文学论小说《他们眼望上苍》中的黑人女性问题苏虹蕾 吉林省社会科学院摘 要：小说《他们眼望上苍》是二十世纪美国著名的黑人女作家佐拉・尼尔・赫斯顿的作品，被公认为黑人文学中的经典之作。

小说不仅在揭露种族歧视上有着很大的价值，而且作品中所塑造的黑人女性形象，体现了黑人女性意识的觉醒，使黑人女性成为社会关注的焦点，表现出浓厚的女性主义色彩。

本文将从黑人女性身份的建构、黑人女性形象的塑造以及黑人女性主义的追寻三方面，来探讨小说《他们眼望上苍》中的黑人女性问题。

关键词：《他们眼望上苍》；黑人女性；身份；形象；女性主义作者简介：苏虹蕾（1982-），吉林省长春市人，吉林省社会科学院（社科联）助理研究员，研究方向：文学理论。

[中图分类号]：I106 [文献标识码]：A[文章编号]：1002-2139(2016)-36-102-02小说《他们眼望上苍》是二十世纪美国著名的黑人女作家佐拉・尼尔・赫斯顿的作品，被公认为黑人文学中的经典之作。

小说讲述了一位黑人女子珍妮从天真懵懂、不谙世事的女孩，在经历了三次婚姻之后成长为独立成熟的女性的过程。

虽然小说的主体部分以珍妮的几段爱情婚姻故事为主，但是并不能把作品当作一部爱情小说来看。

因为小说不仅在揭露种族歧视上有着很大的价值，而且作品中所塑造的黑人女性形象，体现了黑人女性意识的觉醒，使黑人女性成为社会关注的焦点，表现出浓厚的女性主义色彩。

小说既对后来的黑人女性作家，如艾丽斯・沃克、托尼・莫里森等产生了深刻地影响，也为研究女性主义、黑人女性意识提供了新的视角和方向。

本文将从黑人女性身份的建构、黑人女性形象的塑造以及黑人女性主义的追寻三方面，来探讨小说《他们眼望上苍》中的黑人女性问题。

一、黑人女性身份的建构赫斯顿在小说《他们眼望上苍》中，通过讲述主人公珍妮三段婚姻经历，涉及到了有关黑人女性的多个层面的内容，既有种族问题，又有性别歧视问题，更重要的是展现了黑人女性意识觉醒的过程、身份的建构。

解析女性成长小说《他们的眼望上苍》论文解析女性成长小说《他们的眼望上苍》论文《他们的眼望上苍》是美国哈莱姆文艺复兴时期著名黑人女作家佐拉·尼尔·赫斯顿最重要的一部作品，堪称女性小说之经典。

它表现了美国妇女反抗性别歧视，追求自我的主题，也被视为一部成长教育小说，但小说并非一出版就受到好评，而是经历了一场从褒贬不一、默默无闻，到逐步复兴，进入经典的过程。

尤其是到20世纪70年代，才被爱丽丝·沃克和罗伯特·E·海明威等人发掘出来，受到了重新认识和评价。

这是一部典型的女性主义之作，主人公在高举女性主义大旗，在追求自由、抗争命运时，敢于挑战这些在南方社会世代传承、被奉为典张制度的陈规陋习，质疑了美国社会根深蒂固的男权中心主义和白人至上论，颠覆了传统的男与女、白与黑的二元思维模式，从而撼动了西方传统意识形态的基石---逻各斯中心主义。

逻各斯(Logos)这一概念最早出自古希腊，意即“语言”、“定义”，其别称是存在、本质、本源、真理、绝对等等，都是关于每件事物是什么的本真说明，也是全部思想和语言系统的基础所在。

西方传统的形而上学就是以逻各斯中心主义(或逻辑中心主义Logocentrism)及语音中心主义(Phonocentrism)为基础的。

从古希腊开始,经过基督教的中世纪时期,西方文化一直到现在都受到逻各斯中心主义及语音中心主义的影响。

逻各斯中心主义”使得西方传统的形而上学思维方法建立在一正一反二元对立的基础之上，如：灵魂／肉体、自然／文化、男性／女性、语言／文字、真理／谬误等。

这种二元项的对立并非是平等并置的，“逻各斯中心主义”通过设立第一项的优先性而迫使第二项从属于它，第一项是首位的、本质的、中心的、本源的，而第二项则是次要的、非本质的、边缘的、衍生的。

如把善放在恶之前、男性放在女性之前等。

乔约森·卡勒说：“在传统哲学对立中各种术语不是和平共处的，而处于一种激烈的等级秩序之中。

黑人女性在婚姻中对自我和自由的追求——解析《他们眼望上苍》樊蕾英语语言文学摘要：佐拉赫斯顿的代表作《他们眼望上苍》是美国黑人文学史上最早描述黑人女性意识觉醒的作品之一，生动地展示了女主人公珍妮反抗传统习俗、在不幸的婚姻中争取自由与平等的一生。

本文从女主人公的婚姻入手，探讨女主人公珍妮如何在婚姻中逐步觉醒，进而寻求自我、实现自我。

引言佐拉赫斯顿是20世纪伟大的非裔美国作家。

她一生坎坷，生前毁誉参半，死后默默无闻。

直到二十世纪六七十年代，由于女权主义运动和女性主义批评高潮的影响，她才被发掘出来，重放光彩。

其著名小说《他们眼望上苍》简述了黑人女性珍妮如何逐步寻找自由和实现自我的历程。

这部小说不但塑造了新的黑人形象，而且避开了种族压迫歧视和不同文化冲突的的主题，把视角转向了反映全面的、更具普遍意义的两性关系和女性自我意识的觉醒和成长的问题。

这部小说中，作者把黑人还原为独立的人，而不是祈求摆脱其实的抗争者。

摆脱骡子命运《他们眼望上苍》的开篇就表明，这是一个有关女人追梦的故事：梦便是真理，她们依此行动、做事。

珍妮出生于黑人家庭。

虽然她的生活并不富裕，但她却有丰富的精神世界。

珍妮对爱情充满了憧憬，她所向往的爱情是“作一棵开花的梨树，有亲吻它的蜜蜂歌唱着世界的开始”，是要获得梨花和蜜蜂这种相互满足且包容的爱情和婚姻。

她对自我的这种界定显然具有能用生命去感知、情感可以交流、有付出有回报的内涵。

但是她的这种追求在现实社会是注定行不通的。

珍妮的外祖母深深受到奴隶制的迫害，她认为物质丰富是最重要的。

她曾经告诉过珍妮, 白人是一切的主宰, 白人扔下担子叫黑人男人去挑, 可他们却又把这副担子交给黑人女人。

黑人女人是这个世界上的骡子。

她强迫珍妮嫁给了有财产的洛根，开始了第一段婚姻。

婚后, 洛根就让珍妮围着围裙不停地干活。

洛根是一个物质至上主义者, 在他的眼里, 女人就是服从他的骡子。

珍妮同他的土地和房子一样, 只是他的一笔财富, 一头干活的骡子。

外国文学赫斯顿小说《他们眼望上苍》的艺术特色苏虹蕾【摘要】佐拉.尼尔.赫斯顿不仅是一位极具幽默的作家，而且其在写作手法和叙事技术上也有自己的独到见解。

她所创作的小说《他们眼望上苍》自出版以来，就臝得广大读者的青睐，至今仍具有极大的影响力。

无论在叙事结构、人物塑造上，还是从语言层面、主题思想上来说，《他们眼望上苍》都是一部极具艺术魅力和文学价值的作品。

本文将从幽默特色、象征艺术、成长小说三个方面，来分析赫斯顿小说《他们眼望上苍》的艺术特色。

【关键词】赫斯顿 《他们眼望上苍》幽默象征成长小说佐拉•尼尔•赫斯顿不仅是一位极具幽默的作家，而 且其在写作手法和叙事技术上也有自己的独到见解。

她所创作的小说《他们眼望上苍》自出版以来，就赢得广大读者的青睐，至今仍具有极大的影响力。

本文将从幽默特色、象征艺术、成长小说三个方面来浅析赫斯顿小说《他们眼 望上苍》的艺术特色。

一、幽默特色佐拉•尼尔•赫斯顿是一位极具幽默的作家，有“黑 人民族的桂冠诗人”之称的兰斯顿•休斯曾在自传《大海》中，描述了赫斯顿的幽默天赋，说道：“她有讲不完的幽默故事，又悲又喜的故事以及她本人令人捧腹大笑的奇闻轶事，这些都是她这个周游四方的牧师的女儿在美国南方生活时所积累起来的。

她能让你一会儿笑，一会儿哭。

”小说 《他们眼望上苍》就生动地再现了赫斯顿的幽默天赋。

首先，从语言方面来欣赏小说《他们眼望上苍》的幽 默特色。

语言是小说创作的基石，如同砖瓦是建造高楼大厦的材料一般，小说语言的特色能够很大程度上反映作者对待生活、生命的基本态度。

小说《他们眼望上苍》中无 论是叙述语言，还是人物语言，都表现出幽默化的特色，形象地展现了黑人群体顽强的生命力和乐观向上的生活态度。

叙述语言上来说，小说中的每一章节的第一段话除了充满哲理和诗意之外，都极具幽默色彩，如第一章的第一段话：“遥远的船上载着每个男人的希望。

对有些人，船随 潮涨而入港；对另一些人，船永远在地平线处行驶，既不 从视线中消失也不靠岸，直到瞻望者无可奈何地移开了目光，他的梦在岁月的欺弄下破灭。

《他们眼望上苍》的拉康式探析的开题报告尊敬的评委老师：我所选的研究课题是《他们眼望上苍》的拉康式探析。

本题旨在探讨小说中人物的心理状态与拉康的精神分析理论之间的关系，深化读者对小说的理解和思考。

首先，我将对拉康的精神分析理论进行简要介绍。

拉康认为人类的自我认同不是自然的，而是通过他人视角的投射才能形成。

他提出了“镜像阶段”的概念，即婴儿在面对镜子时会认为镜中的影像是自己本身，这为他日后的自我认同和社会交往的形成奠定了基础。

此外，拉康还提出了“符号秩序”和“欲望-满足关系”等概念，揭示了人类心理发展的重要规律。

在小说《他们眼望上苍》中，每个人物都有着特殊的心理状态和处境。

其中，主人公善良善良和小蕙都有着自卑和无力感，他们常感到自己无法达到他人的期望。

比如善良善良一开始对于自己的工作和生活都感到迷茫和不安，一度想要放弃人生。

而小蕙则因为长相不佳和工作的困难而感到自卑和无助。

这些情感和心理问题与拉康的理论有着千丝万缕的联系。

比如他们的自卑感可能是在镜像阶段未能获得足够的肯定而导致的，或者是符号秩序中“形象的暴力”造成的后果。

此外，在小说中还有着其他的人物心理问题，比如张大春的习得性无助和虚无感，玉芳的刻意维持假象和无力对抗等等。

这些心理问题和拉康式的精神分析理论之间有着紧密的联系，可以进一步探究其中的奥秘。

总之，本文旨在通过小说《他们眼望上苍》的分析，探讨人物心理状态与拉康的精神分析理论之间的关系，并为拉康的理论提供具体案例。

希望通过本研究能够深入挖掘小说中人物的内心世界，增进读者对小说的理解与感悟。

ywjsxxk@《他们眼望上苍》是美国黑人女作家佐拉·尼尔·赫斯顿创作的长篇小说，作者以一个黑人女性的视角叙述了20世纪初美国黑人的生活境遇与风俗文化。

小说叙事写实而诗意，冲破了黑人文学中惯用的尖刀利器般的叙事风格，改用女性纤柔的叙事技巧和风格，以成长型的叙事结构将黑人的生活境遇描述出来，引领读者进入黑人的世界，聆听黑人的声音，感受黑人的生活习惯和民俗文化，体会黑人对平等自由的渴望。

本文主要就《他们眼望上苍》的叙事风格展开探究，分析小说中的叙事视角、口吻及语言，品析作者的独特创作手法。

一、独特的黑人女性视角成长类小说的情节有其显著的特征，主要讲述主人公经历最初的“稚嫩期”和成长过程中的“摔打期”，最终走向成熟的过程。

其详细的叙事结构为一个线性的发展过程，主人公的成长历程按照顺序依次为“经受诱惑—走出已有的生活环境—经历考验—迷茫—顿悟—抛弃天真的想法—收获对自我和人生的认识—最终成熟”。

《他们眼望上苍》在成长类小说基本结构的基础上还引入种族矛盾、黑人争取民权、个人精神的觉醒等内容，使小说中主人公的个人成长更具代表性和象征意义。

佐拉·尼尔·赫斯顿采用框架式的叙事结构，将黑人女主人公珍妮的成长按时间划分成四个阶段，分别是：与外祖母共度生活的幼年时期；第一段婚姻后懵懂的青春初期；拥有自我意识，与乔·斯塔克斯得私奔，开创新生活的萌芽阶段；与第三任丈夫韦基伯·伍兹经历人生的多次历练，开始享受美好生活的成熟期。

小说的总体叙事结构突出了作者独具匠心的安排，她在珍妮的经历中注入了黑人觉醒、女性解放、个人成长等多重寓意，从而更好地展现其个人的生命轨迹以及整个黑人族群的精神面貌，让小说的叙事更为深刻、丰富。

这样的叙事突出了当时黑人所遭受的压迫、歧视以及黑人女性受到的种族与性别双重压迫，通过珍妮的奋斗事迹表现了黑人自我救赎的意识。

从这样的叙事安排中，读者可以看到黑人从愚昧无知、麻木不仁逐渐过渡到平等意识觉醒的过程，从而意识到黑人民权运动的进步性。

分析左拉·尼尔·赫斯顿《他们眼望上苍》中的男性人物形像左拉.尼尔.赫斯顿是一位杰出的黑人女性作家, 同时也是哈雷姆文艺复兴中的领军人物。

不同于同时代黑人作家, 致力于抗议文学的创作, 抨击奴隶制度和种族歧视的丑恶和残酷, 赫斯顿在她的经典之作《他们眼望上苍》中细致地描绘了普通黑人, 特别是黑人女性真实丰富生活。

她的作品深深扎根于黑人传统文化, 探索黑人灵魂中复杂深刻的一面。

赫斯顿在《他们眼望上苍》一书中分析探讨了种族、文化和两性关系之间的问题。

经过童年时候的美好幻想和长大后三次坎坷的婚姻的洗礼, 珍妮在经历了一系列的心灵斗争之后从天真无邪, 不谙世事的小女孩成长成了一个成熟独立的女性, 展现出了黑人女性寻求独立的勇气和找寻自我信念。

她拒绝成为和南妮一样的牺牲者, 生活在种族歧视和性别歧视的压迫之下；也拒绝成为婚姻中丈夫的附属品, 放弃信念变成男人的哑巴玩偶。

当她在第三次婚姻中发现自己对丈夫的深爱让自己失去自我甚至危及到人身安全时, 她毫不犹豫的用枪结束了得了狂犬病的爱人的生命。

珍妮再一次寻回了属于自己的声音并且捍卫了自己坚持寻求自我的信念。

本文侧重于分析书中的三位男性角色形象。

通过分析他们各自迥异的性格以及和珍妮的夫妻关系, 来探讨当时社会背景下黑人的心理特质。

黑奴制度所造成的心理阴影和黑白文化碰撞所产生文化冲击, 都对当时黑人的心态产生了巨大的影响。

而通过分析女主人公与他们的婚姻生活, 能够更好地帮助我们理解黑人男性在追逐自我的过程中所遇到的困难与挣扎。

本文同时还分析了书中的各种意象, 如梨树、蜜蜂、驴子和地平线等, 来进一步阐释三位男性角色的性格特征和女主角的自我觉醒。

赫斯顿在书中所展示的这种女性寻求自我之路启蒙了当时的黑人女性的独立意识, 同时也警醒了那些在文化冲击中的迷失自我的黑人同胞。

赫斯顿并不是一个狭隘的种族主义者或者极端的女性主义者, 从她的小说中可以看出, 赫斯顿提倡建立一种和谐、开放、包容的文化关系以及平等、忠诚、尊重的两性关系。

摘要佐拉•尼尔•赫斯顿是美国最卓越的黑人女性作家之一，《他们眼望上苍》被认为是她最出色的作品。

本文利用荣格的集体无意识理论，分别从阿尼玛和阿尼姆斯，阴影，人格面具三方面对珍妮及其三位丈夫进行分析。

首先本文分析了人物内在的阿尼玛和阿尼姆斯原型，展现了其对人物伴侣选择的影响，以及珍妮沟通阿尼姆斯的积极意义；其次分析了阴影在无意识中对人物行为思想的影响，及珍妮在意识到其内在阴影后获得的进步；再次本文分析了人格面具在情感或生活中对人物的影响，展现了合理利用人格面具的重要性。

最后得出结论，三位男性人物没有意识到原型的存在，使得其难以获得人格的健康成长。

相反的，珍妮成功地整合、平衡了她内在的原型，即在三段婚姻中珍妮逐步地沟通其阿尼姆斯，获得独立思考的能力，使得其意识到阴影造成的自我的不完整性，并通过合理利用人格面具保护其内在真实的自我，最后成功获得完整、独立又独特的自我。

关键词：荣格集体无意识；阿尼玛; 阿尼姆斯；阴影；人格面具AbstractZora Neale Hurston is considered as one of the most prominent African-American female writers and Their Eyes Were Watching God is regarded as the most celebrated writing of her. On the theoretical basis of Jungian Collective Unconscious, this thesis analyzes the main characters Janie and her three husbands from three aspects of the Anima and Animus, the Shadow and the Persona. Firstly, this thesis analyzes the Anima and Animus in characters, unfolding their effects on characters’ choice of mating and the positive significance of communicating with Animus of Janie; secondly, this thesis analyzes the unconscious impact of the Shadow on thoughts and behaviors of characters and shows the progress made by Janie after realizing her inner Shadow; thirdly, this thesis exhibits the influence of Persona on characters in emotion and life, revealing the importance of rational use of it. The thesis draws a conclusion that the three male characters fail to make progress in personality because of their ignorance of archetypes. Conversely, Janie succeeds in integrating and balancing her inner archetypes, that is she gradually links up her Animus in the three marriages, being capable of thinking independently, which brings her realization of incomplete self, caused by Shadow, and protects her true self by properly using the Persona, acquiring complete, independent and unique self in the end.Key words: Jungian Collective Unconscious; Anima; Animus; Shadow; PersonaContentsU.D.C: (5)Chapter 1 Introduction (1)1.1 Zora Neale Hurston and Their Eyes Were Watching God (1)1.2 Jungian Collective Unconscious Theory (2)1.3 Literature Review (5)Chapter 2 The Anima and Animus in Characters (9)2.1 The Anima in Male Characters (9)2.1.1 Logan Killicks’ Anima: A Labor like A “Mule” (9)2.1.2 Joe Starks’ Anima: An Angel in the House (11)2.1.3 Tea Cake’s Anima: A Beauty in Men’s Arms (13)2.2 The Animus in the Heroine Janie (14)2.2.1 Janie’s Soul Mate: A Man like “Pear tree and bees” (14)2.2.2 Janie’s Masculinity: A Warrior in Quest of Self (16)Chapter 3 The Shadow in Characters (19)3.1 The Shadow in Male Characters (19)3.1.1 Logan Killicks’ Shadow: Sense of “Mulehood” (19)3.1.2 Joe Starks’ Shadow：Hatred for Blacks (21)3.1.3 Tea Cake’s Shadow: Ideology of Androcentrism (23)3.2 The Shadow in the Heroine Janie (27)3.2.1 The Passive Side of Janie’s Shadow: Incompleteness of Self (27)3.2.2 The Positive Side of Janie’s Shadow: Acquisition of Self (28)Chapter 4 The Persona in Characters (31)4.1 Inappropriate Persona in Male Characters (31)4.1.1 Logan Killicks’ Persona: Covering the Nature of Domination (31)4.1.2 Joe Starks’ Persona: Concealing the Hatred for Blacks (33)4.1.3 Tea Cake’s Persona: Depressing the True Self (34)4.2 Appropriate Persona in the Heroine Janie (36)4.2.1 Emotional Persona in Janie: Catering to Her Husbands (36)4.2.2 Social Persona in Janie: Catering to Social Standards (38)Chapter 5 Conclusion (40)Works Cited (43)攻读硕士学位期间发表的论文和取得的科研成果 (47)Chapter 1 IntroductionChapter 1 Introduction1.1 Zora Neale Hurston and Their Eyes Were Watching GodZora Neale Hurston with great talent in literature was seen as the most momentous female writer of American literature in the 20th century, who was born in Eatonville, Florida, which was the first town that was comprised and dominated by black people in American, on January 7, 1891. After graduating from high school, she succeeded in going into Howard University, the best university for black people, where she found her passion for folklore of black people. Accordingly, after graduating in 1928, Hurston started to contribute herself to doing anthropological research on African-American folklore in the south. As a black female writer, Zora Neale Hurston devoted all her life to protecting and inheriting cultural heritages and traditions of her own people. Although Hurston had created a great deal of works all her life, she was also a black female writer with miserable fate: she and her writings were subjected to positive and negative debate. She was still obscure after her death. Nevertheless, she had a notable effect on many black writers, being seen as “the mother of American black literature”. Alice Walker lauded Hurston as “a cultural revolutionary” (Walker 86-87). Valerie Boyd also favorably appraised Hurston as “having deep influence on at least two generations of writers and readers who had different complexion and culture” in his writing “Wrapped in Rainbows: The Life of Zora Neale Hurston” (438).Their Eyes Were Watching God was seen as the most important masterpiece of Hurston, being recognized as a classic of Black Literature and Feminist Literature. The novel has become one of the most significant works in the literary tradition, having great effect on many leading female writers, both whites and blacks. It tells a story about the heroine Janie and her three marriages, and presents readers an image of a brave black woman who courageously sets her voice in the patriarchal and man-dominated society to pursue the self. Janie was compelled by her grandmother Nanny to marry Brother Logan Killicks, a man with 60 acres of land, when she was 16 years old. However, in the marriage, Janie was treated as a mule by Logan, having哈尔滨工程大学硕士学位论文no love and respect, which made Janie feel disappointed about the marriage. Then one day, Janie took note of citified Joe when he was passing by, being under a spell. Soon they had built a relationship. A few days later, after a quarrel with Logan, Janie’s complaints and desire for “horizon” erupted, leading to her elopement with Joe. They went to Eatonville, the first all-black town, where Joe Starks achieved his desire of being a “big voice”. But Janie was treated unequally by him, too. She was seen as the private possession of him, having no voice and personality. After an argument with Janie, Joe Starks became weak and finally died. At that time, Janie was still a beautiful, attractive woman with great wealth in the town. Her friends persuaded her to marry someone, but she did not want to become an appendant of men once again. Then, she married “Tea Cake”, who was around twelve years younger than her and could bring evenness to her. Janie and “Tea Cake” had not lived a happy life until “Tea Cake” died after a hurricane. Finally, Janie went back to Eatonville. Although she was still sorrowful for Tea Cake’s death, her heart was peaceful. Because she had found her own power and energy, and became a mature, independent woman. The resistant image of Janie has since broken the silenced condition of women in such a man-dominated society. However, Protest Literature, which was represented by Richard Wright, became the main trend of Black Literature. At that time, Their Eyes Were Watching God was rebuked and criticized by other writers and critics because of its complicated narrative, its center of feminism and its advanced themes, so it fell into oblivion in the end. Not until the 1960s, due to the rise of the Black Power Movement and the awakening of Black Nationalist consciousness, Hurston was known again by people, and Their Eyes Were Watching God was accepted and studied by people as well.1.2 Jungian Collective Unconscious TheoryJung was a psychologist of great effect of our time. He developed the theory about the unconscious part of the human psyche, called Collective Unconscious, on the basis of Freud’s theory of the personal unconscious. Jung believes that the collective unconscious is theChapter 1 Introductiondeepest level of the personal psyche, which embodies three stages of consciousness, personal unconscious and collective unconscious. As the psychological accumulation of social factors, historical factors and cultural factors of the whole biological group in the process of biological evolution, “the contents of the collective unconscious have never been individually acquired … whereas the content of the collective unconscious is made up essentially of archetypes” (Jung 42).The collective unconscious means the general psychic experiences of human ancestors that had accumulated in the long course of history, and it has become the instinct of human nature and a genetic predisposition in which humans must respond to a certain event through inheritance from generation to generation. It means that the collective unconscious is ubiquitous in everyone, neither coming from personal experience nor belonging to individual privacy. It is inherent. The collective unconscious exists deeply in everyone’s heart, like the iceberg under the deep sea, which cannot be seen but exactly exists. It is the form or scheme which exists congenitally in the psyche of humans and becomes the fixed potential of thinking of humans.The collective unconscious unfolds itself in the method of archetypes, and how many typical environments are in our life, how many archetypes may be present. “The concept of the archetype … indicates the existence of definite forms in the psyche which seem to be present always and everywhere” (Jung 42). According to Jung’s opinion, archetype is considered as the general form of psychological reactions. Jung used archetypal images to depict the form that the archetype itself presents to the consciousness. The archetype itself is unconscious, and cannot be distinguished and understood by the consciousness, but we could understand the existence and meaning of it through the archetypal images. Therefore, archetypal images are considered as the symbolic representations of archetypes. Once the unconscious content is perceived, it will be presented to the consciousness in the symbolic form of image, such as marriage and separation, in the sense of its symbol, reproduce the existence of an archetype. Jung put forward numerous archetypal images on the basis of his academic and research and哈尔滨工程大学硕士学位论文personal experience, which exist in the deepest heart of everyone and affect the psychologies and behaviors of each of us at the level of consciousness and unconsciousness, such as Anima, Animus, Shadow, Persona, Self, wise old man and so on. The Anima and Animus, the Shadow and the Persona are predominantly significant for composing our personalities and behaviors. Accordingly, this thesis will conduct a detailed study of the characters in Their Eyes Were Watching God from these three main archetypes.Firstly, Jung defined the Anima archetype as the archetypal female image inside of a man, or the feminine side of him, such as blandness, keenness, and it also refers to a man’s personal complex for a woman, representing his expectations of selecting a lover. When the Anima is noted, it will expand and develop, but it will affect the psychology and behaviors of a man through the form of projection when it is ignored. The Anima can be shown up as a kind of soul image, playing a definite and established role in the mood, response, actuation and any spontaneous psychological life of a man. A man tends to see his inner Anima from a realistic female object. Jung divided the Anima into four stages, each of which has one more image. Eve who represents the Mother Complex of men is the initial stage; Helen is the second stage who is presented as the sexual object of men; Maria is the third stage, showing the divinity in love; and the image of the fourth stage is Sophia, who belongs to man’s inner source of wisdom.Animus is a concept that corresponds to Anima, which is a symbol of masculine component within a woman. The Animus is composed of four stages as well: Heracles—Alexander—Apollo—Hermes. The initial image of Heracles represents physical strength; Alexander implies independence; Apollo is an instructive image that appears as “professors” and “priests”; Hermes is an inspirational and creative image. In addition, it also purports women’s masculinity, such as courage and decision, affecting women’s view of choosing a lover as well.The second is the Shadow archetype. Jung took advantage of Shadow to illustrate the hiddenChapter 1 Introductionor unconscious content of our heart, which mostly is the dark side of our unconscious self. The Shadow comes from the constraint of the conscious self, formed by the part that the conscious self never realizes, but it mostly refers to the content that makes our conscious self feel ashamed or ugly. Because of its existence, human beings have formed the inclination of immorality, aggression and agitation. Everyone is under a shadowy side, the less it expresses, the darker and more intense it would be. In addition, people always project their shadows to others.The third is the Persona archetype, which represents people’s external images shown to others, referring to a mask that an actor puts on to perform the role he plays. The role an actor plays does not correspond to the actor himself. Similarly, an individual’s persona does not mean his true self. The aim of putting on the persona is to react to expectations of society and others and leave the public a good impression and hide people’s real personalities. People always have a tendency to hide their shadows, but decorate and personate their personas.1.3 Literature ReviewBoth Hurston and Their Eyes Were Watching God have been significant in the sphere of literature, which renders it worthwhile for us to study Hurston and the novel.Research on Their Eyes Were Watching God in the west shows great vitality. In the 1930s, both Hurston and the novel were unacceptable to people. During the period, the “protest literature” was the mainstream of black literature, resulting in harsh criticisms on the novel. And Hurston was criticized for not registering her protest of racial prejudice in the book. Richard Wright criticized it in a review for the New Masses: “a white audience whose chauvinistic tastes she knows how to satisfy” (16-17). Wright also pointed out that Hurston’s work did not focus on “serious” subjects. In addition, patriarchal culture dominated ideologies of Americans at that time, so critics were limited by the patriarchal ideology and哈尔滨工程大学硕士学位论文could not appreciate its unconventional theme of feminism. After being rediscovered by Alice Walker and Robert E. Hemenway in 1960s, Hurston and Their Eyes Were Watching God gained attention once again. In “Looking for Zora” (1974), Walker commented that Hurston’s work expressed the idea that the black race was complete, complex and undiminished, which was lacking in much black literature. Hemenway made a dispassionate evaluation of Hurston and restored her due position in American and black literature in his book “Zora Neale Hurston” (1977). Since the publication of Alice Walker’s “Looking for Zora” and Hemenway’s “Zora Neale Hurston”, the studies of Hurston in American literary criticism began to bloom, and her works were also constantly being published and analyzed. Their Eyes Were Watching God in particular drew more attention.From the 1980s on, research on Their Eyes Were Watching God was highly flourishing. Firstly, critics paid great attention to characteristics of the formation of it, such as language style, writing skills, symbols and themes, narrative styles. For example, Elizabeth Meese analyzed the spoken and textual language of the novel in her paper “Orality and Textuality in Their Eyes Were Watching God” (1986). Robert E. Hemenway in his work “Zora Neale Hurston: A Literary Biography” (1977) explained the importance of symbols of the novel in expressing Janie’s emotional life. Secondly, perspectives of cultural criticism, cross-culture and feminism were also found in some researches. Claire Crabtree stated that Hurston transformed folk material into the journey of Janie’s pursuit of self-realization from the perspectives of folklore and feminism. Sandra Pouchet Pacquet lauded the novel as having shown the restoration and storage value of folklore in American literature, and a powerful spiritual and artistic resource. Nellie Mckay said that the novel was a cross-cultural and “amplifying crayon drawing”, which “created a new history of the personal and collective self, through its motif of female inquiry” (27). Thirdly, critics began a serious discussion on distinct African-American aesthetics of the novel. Cathy Brigham considered the novel as a Multi-voice Text, which was deprived of the force of mainstream discourse, thereby highlighting the course of the establishment of black culture. In addition, it was considered to be a modern novel by some critics, which fused realism, legend, myth, religion, psychologyChapter 1 Introductionand reminiscent mood.In China, research on Their Eyes Were Watching God started to boom from the beginning of the 21st century. Firstly, the vast majority of scholars focused on the perspective of feminism, including post-colonial feminism, ecofeminism, Foucalt’s discourse theory. Professor Chen Guangming discussed Janie’s birth, marriages and ending in his paper “the Feminist Theme of Their Eyes Were Watching God” (2002), revealing the awakening of Janie’s feminist consciousness and women’s pursuit of spiritual life, and then manifested the clear theme of feminism of the novel. Zhang Yuhong also used Foucault’s discourse theory in her paper to reveal the heroine’s growing process of constructing her subjectivity through speech and discourse to disobey and eliminate the virile power. Chen Yan analyzed Janie’s decolonization, sexual identity and cultural identity through aspects of self, other, gender, race and the third space of post-colonial female discourse in her paper from the perspective of third space, probing into the heroine’s suffering of racial and sexual discrimination, and her way of finding herself. Secondly, scholars concentrated on the perspective of race. In “The Racial Consciousness of Their Eyes Were Watching God” (2009), Han Xiaoyan analyzed different levels of racial consciousness of characters by classifying and unscrambling the characters’ different attitudes to racism. Thirdly, critics also analyzed narrative strategy of the novel. Professor Cheng analyzed the narrative structure, narrative mode, narrative strategy and narrative language of the novel and concluded that the novel was deeply influenced by the narrative mode of black folk tales and black folklore, especially the black dialects and spoken languages. Fourthly, the biographical criticism is another available angle. For example, Heng Xuemin in his paper “Magnified Life of Zora Neale Hurston: an Autobiographical Interpretation of Their Eyes Were Watching God” (2010) discussed the theme of seeking for self and freedom through studying the autobiographical resonance of the novel, and then explored the hard process of women to search for self. Lastly, Bildungsroman was another new angle. Hu Xiaoying uncovered the novel by teasing the life experience of Janie and using the theory of Bildungsroman to further reveal the heroine Janie’s acquisition of independence after experiencing obedience and resistance in her paper “The哈尔滨工程大学硕士学位论文Characteristics of Bildungsroman in Their Eyes Were Watching God” (2010). Pan Wenyi also inherited and created the tradition of European Bildungsroman, offering the novel more multifaceted interpretations.All in all, it was a long journey for the research on Hurston and the novel, undergoing from downturns to bloom. However, it doesn’t mean the end, and there is still plenty of room for the study of Hurston and the novel.After a general survey of the previous studies, most research on Their Eyes Were Watching God centers on analyzing the heroine Janie, while neglecting the male characters of the novel. Little research has been done from the perspective of Jungian Collective Unconscious. Ren Ping analyzed Janie’s growth by using Jungian Archetypal Theory in “Personalized Process of Janie”, but she ignored the male characters as well. Therefore, this thesis attempts to use the psychological theory of Jungian Collective Unconscious to analyze both Janie and her three husbands by using archetypes of the Anima (Animus), the Shadow and the Persona, aiming to strike out a new path in and shed new light on the understanding of Their Eyes Were Watching God. Moreover, the thesis also aims to analyze the characters’ thoughts, feelings and behaviors by using the psychological theory to unfold the impacts of archetypes on the formation of human personalities and the importance of realizing and balancing them.Chapter 2 The Anima and Animus in CharactersChapter 2 The Anima and Animus in Characters Based on Jung, whether in a man or a woman, there is an image of the opposite sex in their deep heart. The Anima and Animus are part of the personality of the opposite sex in men’s and women’s unconscious, such as a man’s feminine side and a woman’s masculine side. The Anima archetype consists of concrete experiences gained by males’ interaction with women, and forgotten or repressed experiences of women which men have unconsciously experienced, and the innate predisposition of women acquired by men through psychological inheritance. Correspondingly, the Animus is constituted by these aspects as well. In addition, they can be triggered in specific situations, and then affect people’s choice of mate. This chapter analyzes the Anima in Janie’s three husbands, unfolding the Anima’s effect on characters’ choice of mate, and analyzes Janie’s Animus to uncover its effect on Janie’s choice of selecting a mate and her pursuit of self.2.1 The Anima in Male Characters2.1.1 Logan Killicks’ Anima: A Labor like A “Mule”As noted above, the innate predisposition towards women acquired by men came from the psychological inheritance, which was called Anima by Jung. As a conservative farmer without spiritual pursuits, Logan Killicks’ acquisition of Anima was mostly from the inheritance of collective images from ancestors. In 1961, the first batch of black people were transported to the United States and began to be marketed as slaves to various plantations. From then on, they lived at the bottom of society, being trafficked, enslaved and even killed like cattle by white people. Not only did they have no personal liberty, but they also had no spiritual liberty because of being permeated by racism. Although the outbreak of the American Civil War led to the abolishment of the slavery system, the cruel slavery was still deeply rooted in people’s mind after two centuries. The idea that blacks should work like a哈尔滨工程大学硕士学位论文mule for whites had become people’s mind-set. As Nanny said, black men picked up the load thrown down by white folks and transmitted it to his women folks. “De nigger woman is de mule uh de world…” (Hurston 14). Women’s lowest position was uncovered by Nanny’s words. They suffered squeezes of both class and gender, being perceived as a mule used for work by men. Black women’s images of working like a mule became a collective memory carved in people’s mind. As a traditional and conformist black farmer, Logan Killicks was devoid of spiritual pursuits, and his inner image of women came from the collective memory of ancestors, regarding the black woman as a labor like a mule.Anima will affect a male’s psychology and behaviors through the mechanism of projection. Logan Killicks projected his Anima to his wife Janie. It should be clarified that Anima is a definite feminine image, the same as no particular woman. Therefore, for Logan Killicks, Janie’s femininity had no attraction, and it was her function of being used for work that appealed to his choice. What Logan wanted was no longer a wife, but a laborer used to do farm work.Because of the function of Anima, Janie’s image in Logan’s eyes was a mule. On the one hand, being perceived as a mule, Janie should be employed by him. Janie’s beauty, especially her feminine quality of heavy hair had no attraction in Logan’s eyes. “He had ceased to wonder at her long black hair and finger it” (Hurston 26). All he noticed was Janie’s function of work. He started to turn his gentle and tender words into critical orders. He commenced to ask Janie to chop wood just like his ex-wife did and cut seed taters for him. He even went to buy a meek mule which was so gentle and docile enough that even a woman like Janie can control it to do farm work. Just as Emma Dawson said: “His ultimate plan to buy a mule gentle enough for her so that she may assist him in the plowing does actualize Nanny’s metaphor of the mule…” (73). The mule Logan planned to buy inferred Janie’s position of a working mule for him. On the other hand, Janie should succumb to Logan just like a mule cannot resist its master. Logan, whose 60 acres of land and house allowed Janie to live a decent and rich life, saw himself as a master and savior of Janie. It was taken for granted forChapter 2 The Anima and Animus in CharactersJanie to be grateful to him and obey his orders by ignoring her own ideas. Just as he said, “Youse powerful independence around here sometime considerin’” (Hurston 30). He would flay Janie’s independence in the house. For him, Janie’s resistance amounted to a violation of his authority as her master. He therefore would stifle Janie’s resistance with vicious words and heavier work so as to enable her succumb to him.The emancipation of slavery cannot release Logan from racial discrimination and oppression. The mule-like image of black people, black women folks in particular, was rooted, becoming his Anima which was imposed on Janie. Moreover, the Anima also means the feminine side of a man. Logan’s ignorance of Anima gave rise to his failure of inspiring his inner femininity, causing his formation of personality of a man that is rude like a mule.2.1.2 Joe Starks’ Anima: An Angel in the HouseIn a racial society back then, women were suppressed and corroded by the overwhelming patriarchy. At the same time, religions, conventions, customs and social systems all were working to consolidate women’s position of second sex. The “Angel” was the product of men’s imagination of a perfect woman in a patriarchal society who was beautiful and obedient. “Angel in the house” was men’s fantasy of an ideal wife who should play her role in the house for her man. Accordingly, men created an ideal image of a chaste Angel for women, which was called Anima by Jung. Meanwhile, females were limited to the gender roles of good wives and good mothers, striving to achieve gender identity within the family. Jung believed that symbols are expressions of archetypes, which consist of terms, names and even scenes of people’s daily life (86). Therefore, the image of “an Angel in the house” can be viewed as a symbol of the Anima archetype, being rooted in people’s mind and affecting men’s attitudes toward women and their choice of mate. Joe Starks, permeated by this sense of worth, was unexceptionally seriously affected.Males incline to see their inner Anima that could be activated in a specific situation in a real哈尔滨工程大学硕士学位论文woman. Joe’s Anima was activated when he first met Janie. It was a day when he was walking to a new all-black town for achieving his goal of being “a big voice”, a broad sound of a pump attracted him, then he saw Janie who was pumping a pump and “made a loud voice and also made her heavy hair fall down” (Hurston 27). He was completely fascinated by her, “[so] he stopped and looked hard, and then he asked her a cool drink of water” (Hurston 27). Permeated by white culture, Janie’s beauty and “Caucasian characteristics” totally complied with Joe’s inner Anima of the “Angel”, a white woman with a pleasing appearance. Janie was extremely appealing to Joe under the Anima’s action, being selected by Joe as his wife. Joe saw his inner image of Anima from Janie.The Anima affects men’s attitudes and behaviors toward women. Joe naturally treated Janie according to his Anima of “an Angel in the house”, who was meek and obedient, as a man’s belongings. Janie was objectified as Joe’s possession. In the party held for townspeople, Joe asked Janie to deck herself with florid and kingly clothes just like the “bell-cow” so as to imply Joe’s higher identity among these black folks. There were likewise some hints about Janie’s inferior position in front of Joe. Joe called Janie “pretty doll-baby”, the first time they met each other, indicating the unfair relationship between them. Janie was materialized, being seen as a toy of Joe. Joe also forbade Janie to go to the funeral of the dead mule, or even stayed with these black people. For him, Janie was the symbol of his mayor identity, the highest position in this town. Her communication with these black people would be seen as the scene of fall in price. In addition, his imprisonment for Janie was out of the function of his Anima that placed a woman in the house, far away from the society. In patriarchal culture, a woman was asked to realize her value in the house and perform her duties of obeying her husband and being faithful. Therefore, when Joe frequently saw Janie’s beautiful hair being furtively stroked by other men, Janie was ordered to wrap her luxuriant hair, a symbol of her womanhood, with a head-rag, ignoring her wills. Joe saw Janie as his decoration, then her symbol of femininity of the hair also belonged to him, refusing others to covet. When Janie was asked to make a speech the same as him by the townspeople, Joe refused them for her. Just as he said, “She’s uh woman and her place is in de home” (Hurston 43). Due to the。

《他们眼望上苍》中佐拉·尼尔·赫斯顿的协合自20世纪70年代以来,佐拉·尼尔·赫斯顿被称为美国黑人文学之母。

然而,在她所生活的年代,赫斯顿却倍受非议,长期被疏离。

其中《他们眼望上苍》是其经典之作。

从表面上看来,小说主要描述主人公简妮的三次婚姻生活;因其不符合时代政治社会主流,被理查德·赖特批评为“无主题,无信息,无思想”。

然而,随着女性主义的崛起,《他们眼望上苍》在文学领域开始复兴。

新历史主义认为任何文学作品与社会和历史都是相互建构的过程,两者相互影响、相互塑造、相互转化、互为因果。

“协合”是其最重要的概念之一,意指作家平衡、协调社会能量的过程。

文学的主要功能是其协合功能,艺术家就是商讨者。

作为社会能量的一种运作方式,“协合”是在“颠覆”和“抑制”两种功能的动态关系中得以实现的。

《他们眼望上苍》中对诸如种族主义和性别主义等社会意识形态的颠覆和抑制都无疑与“协合”相一致。

小说通过主人公简妮的自我意识的实现来影响、感化、直至达到整个民族乃至整个世界的广泛共识。

因此,本篇论文意在通过分析赫斯顿的“协合”来展现文本中的社会存在,以及探讨其作为一名黑人女性主体商讨者是怎样“协合”这些社会能量,从而作用于社会的。

本论文由五个部分组成:前言简述赫斯顿及其小说的地位、中外研究现状及存在的问题、本论文的研究视角、理论基础及研究结构。

第一章分析《他们眼望上苍》中赫斯顿对性别主义的协合。

新历史主义把日常生活中诸如两性、性、家庭关系等所引发的矛盾冲突引入到权力斗争的层面上来,形成所谓的“微观政治学”意义上权力斗争,对此方面的“协合”也应运而生。

本章主要是根据主人公简妮的婚姻和两性经历从两个方面加以详述:一是对真爱与和谐平等的婚姻生活的追寻,二是对话语权的追求。

第二章阐述《他们眼望上苍》中赫斯顿对种族主义的协合。

政治权力斗争,尤其是种族之间的斗争,一直是倍受关注的主要权力矛盾冲突,对此方面的“协合”是现实而必要的。

《他们眼往上苍》的文学价值探讨《他们眼望上苍》诠释了黑人女性珍妮自我女性意识的觉醒，在黑人文学中女性形象的制造上具有里程碑式的意义，被誉为“黑人文学的经典”。

作者佐拉·尼尔·赫斯顿（1891-1960）是美国哈莱姆文艺复兴时期一位重要作家,是美国黑人文学经典、女性主义文学经典和美国小讲经典中的要紧人物。

小讲描写刻画了黑人新女性珍妮摆脱传统束缚、争取做人权益性的一生。

作品咨询世时，因与当时黑人文学表现种族鄙视的创作主流不符而备受冷落。

然而到了二十世纪七十年代，在通过艾丽斯·沃克的挖掘整理后，赫斯顿和她的《他们眼望上苍》大放光芒。

赫斯顿本人更是被艾丽斯·沃克称为“黑人文学之母”，小讲也不再被认为是黑人风俗的简单刻画，而成为女性主义文学的先锋之作。

同一部作品，什么缘故不同时期的评判会差不如此庞大，这就和文学作品的价值紧密有关。

二、特点重要的程度。

艺术品的目的，简而言之确实是使一个明显的特点居于支配一切的地位，因此一件艺术品（作品）越接近那个目的也就越完善。

作品把我们提出的条件完成的越正确越完全，所占的地位也就越高。

显而易见我们的条件有两个，确实是特点必须是最明显的，同时是最有支配作用的。

”文学价值的等级，每一级都相当于精神生活的等级，不的方面都相等的话，一部书的杰出程度取决于它所表现的特点的重要程度，确实是讲取决于那个特点的稳固的程度与接近本质的程度。

艺术品等级的高低取决于它表现的历史特点或心理特点的重要、稳固与深刻的程度。

二十世纪二十年代，表现强烈种族意识确实是美国黑人文学的主流：抗议对种族的鄙视与压迫，努力爱护黑人的利益，尽力塑造提升种族声誉的正面黑人形象，从而表明黑人与白人并无区不，最终证明种族鄙视之荒谬。

作品集中表现底层黑人身上的心灵扭曲差不多上由于种族鄙视与经济压迫造成的，清晰地表明这些底层黑人在美国社会中的地位决定了他自身的言行、态度、价值观和命运，同时社会对他的存在所表现出的极度冷漠是造成了他的惧怕和仇恨的罪魁祸首。

自我的探索与实现——《他们眼望上苍》解读
顾群
【期刊名称】《江苏教育学院学报：社会科学版》
【年(卷),期】2011(27)2
【摘要】佐拉·尼尔·赫斯顿(1891-1960)的代表作<他们眼望上苍>是黑人文学中第一部充分展示黑人女子内心中女性意识觉醒的作品,在女性形象的创造上具有里程碑式的意义.本文通过对文本的细读和分析,指出女主人公珍妮在寻找自我的艰苦探索中,其自我实现和自我理解在与3个男人的不同生活经历中不断成长,同时这种自我意识在极度男权社会中又无法得到充分的发展.
【总页数】4页(P128-130,134)
【作者】顾群
【作者单位】金陵科技学院,江苏南京211169
【正文语种】中文
【中图分类】I106.4
【相关文献】
1.言说权的缺失与获得——解读《他们眼望上苍》中珍妮在婚姻中自我意识的成长[J], 郭雪霞
2.自我实现的曲折之路--从需求层次论解读《他们眼望上苍》中珍妮的人生 [J], 安华
3.探索实现自我净化的有效途径——解读十九届中央纪委三次全会公报里的28个“监督” [J], 胡晓;张琰;
4.艰难的自我实现之旅——评《他们眼望上苍》中的女性物化现象 [J], 李梅;付海艳
5.《他们眼望上苍》中珍妮的自我实现形象分析 [J], 赵敏
因版权原因，仅展示原文概要，查看原文内容请购买。

《他们眼望上苍》的叙事艺术解析左拉·尼尔·赫斯顿是二十世纪美国黑人文学史上最卓越的女作家之一。

虽然一度被同时代的作家及文学批评家所遗忘,她的文学天才却是不可忽视的。

在女权主义运动和女性主义批评热潮高涨时,赫斯顿的文学天才再度被发掘。

1975年,爱丽丝·沃克在《女士》杂志上发表“寻找赫斯顿”的文章后兴起了赫斯顿的文艺复兴。

赫斯顿深深地扎根于美国黑人的历史文化,其作品以鲜明的黑人性和丰富的民俗性特征成为黑人女性主义文学的典范并对后世许多作家如拉尔夫·艾利森、托尼·莫里森和爱丽丝·沃克等产生了深远的影响。

这些作家纷纷在赫斯顿的作品中寻找创作来源。

她们不断的对其文本结构、叙述模式、语言形式及黑人风俗等叙事策略进行重复、模仿和修改。

作为一名人类学家和民俗学家,赫斯顿不遗余力地走访世界各地进行广泛的实地考察并收集了各地大量的民间故事,掌握了多种黑人方言及口述传统,为她后来的创作提供了宝贵的文学素材。

在创作中,赫斯顿将黑人口语、宗教礼仪和口述传统等巧妙地、富于变化地应用于小说创作中,描述黑人女性意识的觉醒及对自身价值的追求。

《他们眼望上苍》是赫斯顿最具代表性的一部作品,体现了赫斯顿作为一位富于创造的艺术家和经历丰富的民俗家的完美结合。

该作品描述一个黑人妇女从软弱无知到独立自强的成长与自我肯定的故事,分析黑人女性自身的力量和价值,从而试图唤醒黑人女性通过掌握自己的命运来争取自由和平等的意识。

这部小说是赫斯顿在海地考察时利用7个星期的时间完成的,故事的灵感来自于她与潘特的爱情故事。

赫斯顿的几次失败的婚姻在主人公珍妮的成长过程中得以影射。

自传式的叙述结构赋予了《他们眼望上苍》传统的成长小说的叙述模式。

此外,小说在无所不知的全知叙述和主人公第一人称叙述间不断地切换使得赫斯顿自如地穿行于文本之中,赋予小说鲜明的现代主义特征。

国内外诸多学者与文学评论家分别从《他们眼望上苍》的女性主义主题、象征主义手法、叙事策略及女性话语权的缺失等方面进行分析。

第28卷 第6期 牡丹江大学学报 Vol.28 No.6 2019年6月 Journal of Mudanjiang University Jun. 2019 文章编号:１００８－８７１７（２０１９）０６－００４４－０３欲望表征的缺失——《他们眼望上苍》中珍妮的欲望人生　王　晗　馨　（云南师范大学外国语学院，　云南　昆明　６５０５００）摘 要：《他们眼望上苍》是非裔美国女作家佐拉·尼尔·赫斯顿创作的一部成长小说。

本文以拉康人格理论和欲望理论为理论基础来剖析《他们眼望上苍》中珍妮在想象界和象征界的追求欲望之旅，旨在揭示无意识欲望其实是无法满足的缺失，这种缺失在文本中体现在珍妮对理想镜像的寻找、对大他者即上帝旨意的寻求以及她选择返回故乡讲述自己的人生历程。

从而指出她并非独立的黑人女性，而是一个不断地满足他者欲望的一个残缺的欲望主体。

关键词：想象界；象征界；欲望理论中图分类号：Ｉ１０６．４ 文献标识码：ＡDeficiency of Desire Representation——Ｊｅｎｎｙ＇ｓ　Ｄｅｓｉｒｅ　Ｌｉｆｅ　ｉｎ　Ｔｈｅｉｒ　Ｅｙｅｓ　ａｒｅ　Ｗａｔｃｈｉｎｇ　ＧｏｄWANG Han-xin(School of Foreign Languages,Yunnan Normal University,Kunming Yunnan　650500,P.R.China)Abstract:Their Eyes are Watching God was written by the African-American woman writer Zora Neale Hurston as a growth novel. Based on Lacan's personality theory and desire theory, this thesis analyzes Jenny's pursuit of desire in the imaginary and symbolic world, aiming to reveal that the unconscious desire is actually an unsatisfied deficiency. The text is reflected in Jenny's search for the ideal image, the search for the other’s recognition, God's will, and her choice to return to her hometown to tell her life experience. It thus pointed out that she is not an independent black woman, but a disrupted subject of desire that constantly satisfies the desires of the other.Key words: imaginary world; symbolic world; desire theory收稿日期：作者简介：２０１８－１２－１８王晗馨（１９９４－），女，陕西渭南人，在读硕士研究生，研究方向：英美文学。

2016年12月第2卷第6期外国语文研究Foreign Language and Literature ResearchDec. 2016V ol.02 No.6《他们眼望上苍》：珍妮的回视与个人救赎昝 朦 方亚中（武汉轻工大学外国语学院，武汉430023）摘 要：基于犹太卡巴拉教，本雅明提出弥赛亚主义，其核心概念就是个人救赎。

本文借用了本雅明的弥赛亚时间和弥赛亚救赎，对《他们眼望上苍》进行解构式重读，将珍妮回归小镇的行为、她在回忆中的讲述分别视为积极救赎的结果和过程，通过三次婚姻中的三次回视，再现女主人公自我认知、自我觉醒到自我实现的个人成长路径。

关键字：《他们眼望上苍》；珍妮；弥赛亚；救赎 ；本雅明中图分类号：I106 文献标识码：A文章编号：1003-6822（2016）06-0055-071. 引言在美国黑人女性文学史上，佐拉·尼尔·赫斯顿（Zora Neale Hurston）一改美国黑人文学的性别模式，成功塑造出一个寻找自我、表现自我、肯定自我的黑人女性。

她的作品不仅为当代黑人女性文学建立了框架，也为后来黑人文学的整体振兴奠定了基础。

其代表作《他们眼望上苍》（Their Eyes Were Watching God，以下简称《上苍》）也被当今美国文学批评界视为黑人文学、女性文学和20世纪美国文学的经典。

（程锡麟，2005: 110）与当时以理查德·赖特（Richard Wright）为代表的黑人“抗议文学”不同，赫斯顿对黑人文化语境下的黑人经验表现出极大的热情，其作品中的黑人是和世界一切人种一样有自己喜怒哀乐的正常人。

《上苍》以倒叙的手法，通过珍妮的追忆，展现了一位情感经历丰富而内心日益充盈的黑人女性，强化了黑人群体中女性的特殊经验，即黑人女性在爱情和婚姻中如何通过自我认知、自我觉醒和自我实现而完成自我救赎。

根据小说的描述，珍妮在不同的时期具有不同的形象，或者说，珍妮无时无刻不处在被他人审判的位置。

《他们眼望上苍》的叙事伦理学探析佐拉·尼尔·赫斯顿（1891—1960）是美国杰出的民俗家和人类学家，哈莱姆文艺复兴时期一位具有代表性的黑人女作家。

她的代表作《他们眼望上苍》被誉为黑人文学、女性文学和20世纪美国文学的经典作品，描写了主人公珍妮反抗种族压迫和性别歧视，争取自己做人权利的一生，是一部充分展示黑人女性意识觉醒的作品。

目前，国内外学者对《他们眼望上苍》的研究，多从传记文学、民俗文化、女性主义和叙事策略等角度出发，探讨黑人的命运与出路。

以往这些研究大都是围绕小说的主题思想与创作技巧，却很少关注作品中蕴涵的伦理诉求。

本文拟从叙事伦理学入手，通过女性叙事、家庭叙事和种族叙事三个方面的分析，透视主人公珍妮的生活困境，进而展现赫斯顿独特的伦理观：黑人摆脱悲惨命运的关键在于重建民族意识与争取自我实现。

本论文由导论、四章正文和结论部分组成。

导论简要介绍了赫斯顿的生活和写作经历，及小说《他们眼望上苍》的主要情节和国内外学者对其的研究成果，进而点明本文的研究意义：从叙事伦理学出发，通过分析小说的叙事内容，展现珍妮的形象，赋予珍妮全新的伦理判断和文化判断，从而使读者更加深入了解黑人文化。

第一章是本文的理论基础，详细阐述了叙事伦理学的定义及其主要观点。

叙事伦理学讲述个人经历的生命故事，通过个人经历的叙事，营构具体的道德意识和伦理诉求；赫斯顿正是以珍妮的生命感知来叙写黑人女性的生活际遇，展现她对黑人争取自我实现与重建民族意识的伦理诉求。

叙事伦理学的主要切入点包括女性叙事、家庭叙事和种族叙事。

女性叙事围绕女性的生命感知，强调女性意识和女性的自我实现；家庭叙事聚焦于家庭结构的变化，寻求和谐的家庭关系；种族叙事通过描绘种族的生存现状，展现其独特的生存伦理。

第二章从女性叙事的角度详细探讨了赫斯顿的伦理观。

《他们眼望上苍》中的女性叙事指奴隶制度下有关黑人女性的特殊经历和对自我实现的伦理诉求的故事。

本章首先介绍了奴隶制度下黑人女性的处境和来自种族、性别的双重压迫。