“恐惑”理论的发展及当代意义  

The Genealogy and Contemporary Significance of "the Uncanny"

作　　者：王素英[1] 

机构地区：[1]河北师范大学外国语学院

出　　处：《当代外国文学》2014年第1期131-139,共9页Contemporary Foreign Literature

摘　　要："恐惑"理论已经在当代西方文学和文化理论界占据了重要的一席之地。该理论的形成主要归功于西格蒙德·弗洛伊德于1919年发表的散文《论恐惑》。该文在发表之初未得到足够重视,但自1970年代开始逐渐受到越来越多的思想家、批评家和理论家的关注,进而使"恐惑"概念逐渐被理论化,并在心理分析的意义中融入存在主义的意义,加之其本身的否定美学意义,"恐惑"彰显了独特的审美现代性功能。本文通过梳理"恐惑"理论的源起与发展,分析其在心理分析、存在论、美学三方面意义的融合,说明由其审美现代性所体现的当代价值和意义。： The concept of ＂the uncanny＂ has an important place in Western lit- erary and cultural theories. The inception of this concept has been attributed largely to Sigmund Freud＇ s 1919 essay ＂The Uncanny,＂ which was ignored upon its publication but since the 1970s has attracted an increasing number of thinkers, critics and theorists to the- orize and combine its psychoanalytical and existentialist perspectives. The concept of ＂the uncanny＂ , with its aesthetic negativity has thus functioned as an illustration of aesthetic modernity. This article analyzes ＂the uncanny＂ at the crossroads of psychoanalysis, existentialism and aesthetics to demonstrate the contemporary relevance of the concept.

关 键 词：恐惑 心理分析 美学 存在论 审美现代性 

分 类 号：I01[文学—文学理论]