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论文名称: 席勒的浪漫诗人：安徒生的认同形成
论文名称: The Identity Formation of Hans Christian Andersen As Schiller's "Romantic Poet"
关键词:
安徒生 Hans Christian Andersen
席勒 Schiller
认同形成 Identity Formation
儿童文学 Children's Literature
浪漫诗人 Romantic Poet
[摘要]
自从安徒生在1835年出版他第一本童话集以来，安徒生童话已成为家喻户晓的作品。他的
童话也被译为多国语言，并且被认为是现代童话的典范。与格林兄弟及贝洛尔等人的传统
童话比较起来，安徒生童话很明显地融入了更多个人及感伤诗人的特质。他为儿童发声、
并融入他个人经验来改写传统童话、以及表达了他对自我认同的追寻。本篇论文引用了席
勒对于朴素诗人与感伤诗人的理论来分析安徒生童话，并根据他在童话中所展现的特质来
认定他是一位浪漫及感伤诗人。
本论文共分五章。第一章介绍了儿童在十九世纪的定位、安徒生的成长背景，及浪漫主义
的发展。我也特别在这部份介绍了席勒对于朴素诗人及感伤诗人的理论及定义。在第二章
中，透过与其它浪漫作家的审视及比较，可以发现到安徒生浪漫自我的存在，以及他表达
了他对自我认同及自我和谐的追寻。安徒生的认同形成问题是本章的重要议题。之后，根
据席勒的理论，我在第三章中论定安徒生是为一位浪漫及感伤作家诗人。他在童话中对于
情节、角色、语调以及背景的创新使他在儿童文学史上成为一位创新者而不是记录者。在
第四章中，身为一位感伤及浪漫，安徒生对崇高的自然及其伟大的力量表现了他的无限推
崇。此外，我也讨论了在浪漫主义中对于自然的观念以及席勒对于崇高的定义，并藉此更
进一步的检视安徒生的童话。之后，我将解释拥有了这些感伤、浪漫特质的安徒生，在处
理自然这个主题时，如何在他的童话中达到了崇高情感的表现。第五章为本论文结论。
[摘要]
Andersen's fairy tales have been attractive to readers since he published his
first collection in 1835. They have been translated worldwide and considered
as a model of the modern fantasy. Compared with the traditional folktales of
the Brothers Grimm and Perrault, Andersen's tales obviously incorporated more
personal and sentimental qualities. He creates voices for children, rewrites
the traditional tales by imbuing his experiences, and expresses his search for
the unity of the self. This thesis applies Schiller's theory of the na?
ve and sentimental poet to analyze Andersen's tales and defines him as a
romanticist and sentimental poet according to the qualities that he shows in
his tales.
This thesis is divided into five chapters. In Chapter I, children in the
nineteenth century, Andersen's background, and the development of Romanticism
are introduced. I also introduce Schiller's theory and definition of the
sentimental and naive poet in this section. In Chapter II, through the
examination and comparison with the other romanticists' qualities, Andersen's
romantic self can be observed. He expressed his search for an unification of
self. The problems of Andersen's identity formation are the main issues in
this chapter. Then, according to Schiller's theory, I regard Andersen as a
romanticist and a sentimental writer in Chapter III. His creativity in plots,
characters, tones and settings made him become a "creator" in the history of
children's literature. In Chapter IV, as a sentimental and romantic artist,
Andersen shows his great respect for majestic nature and its great power. I
discuss the concept of nature in Romanticism and Schiller's definition of the
sublime that can help me examine Andersen's tales more closely. Then, I
explain how Andersen, who ordinarily possesses the sentimental romantic
qualities arrives at the expression of the sublime emotion in his tales when
dealing with the theme of nature. Chapter V is my conclusion.
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