精神分析学在中国现代文艺界的传播  

Dissemination of Psychoanalysis in Modern Chinese Literary and Artistic Circles

作　　者：李勇强[1] 

机构地区：[1]浙江师范大学文化创意与传播学院,浙江金华321004

出　　处：《浙江师范大学学报（社会科学版）》2013年第3期19-25,共7页Journal of Zhejiang Normal University(Social Sciences)

基　　金：浙江省哲学社会科学规划重点课题"中国话剧演出史研究"(10CGWH03ZQ)

摘　　要：20世纪初,精神分析学说传入中国,最初的理论引进由心理学家延伸到艺文学术各界。在现代文艺界,精神分析理论传播的特征是:以译介弗氏的精神分析为主,兼及荣格、阿德勒等人的理论;从文艺创作、文艺批评等角度译介、评论精神分析学说;对之并非全盘接受,而是予以取舍、扬弃与改造。左翼文化界将20世纪20年代对精神分析的机械搬用上擢到批判、汲纳的合理层面,而左翼外作家将之纳入多元接受的范式中。精神分析学在文艺界的深广传播对中国社会与文化的现代转型产生了深远的影响。In the early 20th century, psychoanalysis was first introduced into China by psychologists and then spread to literary and artistic circles and other fields. Its dissemination in modem Chinese literature and art featured ： 1 ） preference of Sigmund Freud （ 1856 - 1939） to Carl G. Jung （ 1875 - 1961 ）, Alfred Adler （ 1870 - 1937 ） and others ; 2） translation and study of psychoanalysis from the perspectives of literary creation and criticism, and 3 ） selective and transformative introduction rather than total and uncritical acceptance. While the left-wing literary elites promoted the blind copy of the theory in the 1920s to a higher and more ra- tional level of criticism and inheritance, the writers of other background successfully made psychoanalysis a component of the multi-acceptance artistic circles in depth and width paradigm. Such dissemination of the theory in modem Chinese literary and has had profound and far-reaching impact on the modem transformation of Chinese society and culture.

关 键 词：精神分析学 现代文艺界 传播 接受 

分 类 号：I0-05[文学—文学理论]