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“心理学”在这一节里应该理解为“精神分析学”,虽然精神分析学在哲学家中间还没有多少市场,而这一事实在某种程度上又和它的“科学”地位的问题有关。我们之所以把问题的焦点缩小,是因为无论精神分析学是否科学,它都是唯一深深影响了我们对艺术作品的感知和阐释的心理学派,这或许是因为精神分析学本身与其作为一门科学,不如作为一种读解和解释的方法,在其中,梦、玩笑和口误都被当作话语看待。的确,值得注意的是,精神分析学的许多概念都来自文学领域——俄狄浦斯、那耳喀索斯、萨德。好象自一开始,精神分析学与文学就已经有了相近的立足点,而且这种密切关系通过迫使精神分析学从事文学与艺术作品的分析才进一步显示出来。“分析批评”的无穷后果似乎是精神分析学自身无法制止的产物,而且这些结果的不完善也是大家所公认的。这种局面已经引导一些当代精神分析学批评家来反思文学与精神分析学之间的关系的内在必然性,并且在回顾过程中,同对采用精神分析学
“Psychology” should be understood in this section as “psychoanalysis,” and although psychoanalysis does not yet have many markets among philosophers, this fact is to some extent related to its “scientific” status related. The reason why we narrowed the issue is that it is the only school of psychology that has profoundly influenced our perception and interpretation of works of art, whether or not psychoanalysis is scientific, perhaps because psychoanalysis itself is not Science, rather than as a way of reading and interpreting, in which dreams, jokes and mistakes are treated as words. Indeed, it is worth noting that many of the concepts of psychoanalysis come from the fields of literature - Oedipus, Norsekosos, Saad. It seems that from the very beginning, psychoanalysis and literature have gained a similar foothold, and this close relationship is further revealed by forcing psychoanalysis into the analysis of literary and artistic works. The endless consequences of “analytical criticism” seem to be the product of psychoanalysis itself that can not be stopped, and the imperfections of these results are generally acknowledged. This situation has led some contemporary psychoanalytic critics to reflect on the inherent inevitability of the relationship between literature and psychoanalysis, and in the course of the review,