原罪·想象·救赎——柯尔律治《古舟子咏》中的阈限表征  

Original Sin,Imagination,and Salvation:The Representation of Liminality in Coleridge's"The Rime of the Ancient Mariner"

作　　者：陈书平 CHEN Shuping

机构地区：[1]华侨大学外国语学院

出　　处：《国外文学》2025年第1期109-116,共8页Foreign Literatures

摘　　要：《古舟子咏》是柯尔律治最广为人知的代表作之一。根据法国人类学家阿诺德·范根纳普提出的三重阈限框架,诗中的老水手经历了前阈限分离、阈限过渡和后阈限聚合三个阶段,分别展现了柯尔律治的原罪观、想象观和救赎观。在前阈限阶段,老水手猎杀信天翁的行为凸显了柯尔律治对宗教原罪和人性之恶的反思。在阈限阶段,柯尔律治凭借临界想象创造了老水手从“渎神者”转变为“忏悔者”的过渡礼仪所需的“超自然”机制。在后阈限阶段,老水手的流亡状态表明他从海上的阈限迈入另一种陆地的阈限,反映了柯尔律治对救赎的可能性与局限性的思考。"The Rime of the Ancient Mariner"is one of Samuel Coleridge's most widely known works.According to the French anthropologist Arnold van Gennep's tripartite framework of liminality,the ancient mariner depicted in the poem experienced preliminal separation,liminal transition and postliminal incorporation,which respectively reveal Coleridge's view of original sin,imagination and salvation.In the preliminal stage,the mariner's shooting of the albatross highlights Coleridge's reflections on original sin and the evil of human nature.In the liminal stage,Coleridge relies on critical imagination to create the"supernatural"mechanisms needed for the mariner's rites of passage from a"blasphemer"to a"penitent".In the postliminal stage,the ancient mariner's exile from the liminal space of sea to that of land manifests Coleridge's introspection on the possibility and limitation of salvation.

关 键 词：柯尔律治 《古舟子咏》 阈限 原罪 想象 救赎 

分 类 号：I106.2[文学—世界文学]