论厄勒克特拉原型在《高龙巴》中的体现与变异  

On the Incarnation and Variation of the Electra Archetype in Colomba

作　　者：易圣凯 祁晓冰 YI Sheng-kai;QI Xiao-bing(College of Chinese Language and Literature,Yili Normal University,Yining Xinjiang 835000)

机构地区：[1]伊犁师范大学中国语言文学学院,新疆伊宁835000

出　　处：《牡丹江大学学报》2022年第3期28-35,共8页Journal of Mudanjiang University

摘　　要：数千年来,东西方文学作品中的女儿联手兄弟为父复仇的题材屡现不鲜,这种源生于古希腊神话中的厄勒克特拉模式已经成为一种文学的母题,不同时空背景下的创作者们重复着在作品中留下它的身影,这绝不是偶然,而是原型的力量。作为一种具有共时性与普适性的特殊概念,原型植根于人的集体无意识,对文学艺术创作持续进行着潜移默化的影响。19世纪法国作家梅里美便将厄勒克特拉的神话原型沿用到他的中篇小说《高龙巴》之中,并根据自身的创作偏好对其进行了本土化、现时化改造,最终在作品中让这种古老的神话焕发出新的魅力,也成就了他自身特有的边缘神话的创作风格。For thousands of years,the theme of the daughter cooperating with her brother to avenge her father has appeared frequently in both eastern and western literary works.The Electra archetype,which originated from ancient Greek mythology,has become a literary motif.It is not by chance that creators in different time and space backgrounds repeatedly leave its figure in the works,but the power of the prototype.As a special concept with synchrony and universality,prototype is rooted in the collective unconsciousness of human beings and has a continuous and subtle influence on the creation of literature and art.In the 19 th century,French writer Merimee used Electra archetype in his novel Colomba,and localized and modernized it according to his own creation preference.Finally,this ancient myth radiated new charm in his works,which also achieved his own unique creative style of marginal myth.

关 键 词：原型批评 厄勒克特拉原型 梅里美 高龙巴 

分 类 号：I106.4[文学—世界文学]