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本文以歌德及其《浮士德》、席勒及其《退尔》、尼采及其《苏鲁支语录》的现代中国接受史作为研究基础,讨论“诗人巨像”与“文学镜像”的二元互补关系,既强调接受维度的变形必然性,同时也揭示德诗东渐本身对受者主体的规定性,最后提出主体原则与资源向度问题,强调资源采择是多维度的,其间既有互补、互释,也有冲突、对抗,如何使之形成一种有序之博弈格局,并进而最终达成有效之融化、创生,乃是一个必须通过大量深入细致的个案研究进行探讨的问题。
This thesis, based on the study of the reception history of Goethe and its “Faust”, Schiller and his “Retirement”, Nietzsche and his “Suluzhi Quotations,” discusses the literary images of the poet Colossus and the Literary Mirror It not only emphasizes the inevitability of accepting the deformation of the dimension but also reveals the regulation of the subject of the poem by itself and finally proposes the principle of the subject and the orientation of the resource. It emphasizes that the resource selection is multi-dimensional, In the meantime, there are both complementarity, mutual interpretation, conflict and confrontation. How to make it form an orderly game pattern, and finally achieve the effective melting, creation is a must through a large number of in-depth and meticulous case studies to explore problem.