“绝对自我”的悖谬:提坦、费希特和辛克莱的叠影——《旭培里昂,或希腊隐士》中阿拉班达的精神形象  

The Paradox of “The Absolute Self”: the Overlapping Images of Titan,Fichte,and Sinclair:On the Image of Alabanda in Hlderlin's Hyperion,oder der Eremit in Griechenland

作　　者：李莎[1] LI Sha(School of Chinese Laaguage and Literature,Beijiag Normal Uaiversity,Beijiag 100875,China)

机构地区：[1]北京师范大学文学院,北京100875

出　　处：《北京教育学院学报》2018年第5期61-69,共9页Journal of Beijing Institute of Education

摘　　要：荷尔德林的小说《旭培里昂,或希腊隐士》中阿拉班达精神形象具有多重隐喻。首先,从阿拉班达提及的柏拉图《政治家篇》出发,追溯人类自主和历史观念起源之关系,印证其精神形象中提坦的隐喻。其次,从费希特的绝对自我原理论证其行动哲学的依据。最后着眼于阿拉班达的实践,联系雅各宾派、辛克莱代表的激进的德意志青年,揭示为理性而战的暴力乌托邦陷入人类自我意图而失败。这或许是小说中"涅墨西斯"之名的双重暗示——"愤怒的正义"的"惩罚"。This paper deciphers the multiple layers of symbolism in Alabanda in Holderlin＇ s novel Hyperion, oder der Eremit in Griechenland. As an overlapping figure of Titan, Fichte and Sinclair, it reveals the nihilist fate in the modem violent politics that is trapped in human beings self-intention. Firstly, it explicates the simultaneous emergence of the concept of history and the autonomy of human being by analyzing Plato＇ s Statesman The autonomy of human beings helps to identify Alabanda with Titan, who strives against Zeus. Secondly, this paper argues that Alabanda＇ s humanism and devotion to revolutionary practice has its philosophical basis in Fichte＇ s absolute self in his Foundations of the Entire Science of Knowledge. And the last part of this paper focuses on the revolutionary practice, relating the Jacobins of French Revolution with Sinclair, revealing nihilist tendency of utopian politics. Ironically, the violent revolution seeking for the victory of humanity finally results in the loss of it. This might indicate the dual meaning of ＂Nemesis＂ in the novel： the ＂punishment＂ of the ＂resentful justice. ＂

关 键 词：法国大革命 荷尔德林 《旭培里昂 或希腊隐士》 阿拉班达 绝对自我 涅墨西斯 

分 类 号：I516.064[文学—其他各国文学]