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在本文中,笔者对托马斯·曼的《魔山》作为一部成长小说进行了批判性的思考。弗兰克·莫莱蒂(Franco Moretti)认为成长小说这种形式象征着现代性,因为正是在成长小说中青年时代被赋予现代所特有的那种活力和不稳定性,以至于成为整个生命中最重要的部分。青年人的经历或许是在一战后消亡的众多事物之一,正如瓦尔特·本雅明(Walter Benjamin)在其著名的《经验与贫困》一书中所指出的那样,这种经历的显著特征就是感觉自己失去了建构意义的能力。无论从哪个角度来看,塑造一个像汉斯·卡斯托尔普(虽然他生活在一战前)这样一个青年角色本身已经包含着对作品形式的一种挑战。何种语言才能适合在那个特定历史时空中完成对一个青年角色的塑造呢?汉斯·卡斯托尔普有别于查尔斯·狄更斯笔下的皮普,以及巴尔扎克笔下的吕邦泼雷,因为他既没有顺从于命运也没有自我毁灭,而是愿意让自己接受美学教育,在这个意义上他是一个成长小说的主角。
In this paper, the author of Thomas Man’s “Magic Mountain” as a growing novel for a critical thinking. Franco Moretti argues that the form of growth novels is a symbol of modernity because it is the vitality and instability that has been given to modernity in the young novels of the growth novels, Important part. The experience of young people may be one of many things that die out of post-WWII, as noted by Walter Benjamin in his book, Experience and Poverty, a salient feature of this experience It is the feeling that you have lost the ability to construct meaning. In any case, shaping such a young character as Hans Castorp (though he lived before World War I) already contains a challenge to the form of the work itself. What language is appropriate for the shaping of a young character in that particular space-time? Hans Kastorpe, unlike Pip in Charles Dickens’s writing and Lubbock in Balzac, Because he is neither submissive nor self-destructive, he is willing to accept himself as aesthetically educated, in the sense that he is the protagonist of a growing novel.