《荒原狼》在中国的接受

… not only created the significant fancy novels such as Die Morgenlandfahrt and Der Steppenwolf … So, Hesse’s understanding and reception of Chinese classical literature belongs to the …

《东方之旅》是德语作家黑塞关注东西方文化整合，继续走向内在之路的代表作，但国内极 少研究。小说通过一次中途夭折的象征性旅程，反映了黑塞对２０世纪初期西方精神危机的进一步思考，和对艺术审美超越功能的深刻反思。小说最终提出了“服务” 的法则，以确保在个体人格完善的中心下，协调与社会的关系，正确处理艺术家与艺术的关系，重建西方世界的信仰。同时黑塞认为西方文化自我拯救时必不可少的东方文化，也从古典智慧，扩大为跨越了各种文化的地域间距，克服了彼此的对立、不信任、偏见与仇视的心灵家园。

黑塞传承了浪漫派诗哲衣钵，其诗化生存哲思基于工业文明肆虐的生存沙漠，反思生命枯竭的根源，形成人类筑养栖居之思的三个层面：一是提出诗人追求居住的艺术，追慕神性闪耀的自然，以之对抗工业化侵蚀的居所，反思城市的历史和未来，预言自然终将回归。二是指出人类应当体味“逃逸”去蔽的自由愉悦。“劳作”陷于功利，人就与生活本来的意义隔绝，“游戏”则融合了感性和理性，让“劳作”回归本源；“漫游”则滋养反思能力、激活生命力；“疯癫”或“死亡”是天才反抗世俗禁锢的生活表征。三是希冀人类保养仪式空间的神性，只有坚持信仰、体味神性、修养内心之爱才能使劳作不被物欲控制，回归家园。

以瞿秋白《〈鲁迅杂感选集〉序言》对鲁迅的分析为出发点，重读《阿Ｑ正传》。可以看到：小说关于“阿Ｑ姓什么”的讨论，构成了“作者”为阿Ｑ“做正传”的起点；关于“阿Ｑ想姓赵，赵老太爷却不让他姓赵”的叙述，构成了阿Ｑ整个生命故事的起点；然而更重要的是，倘若把《阿Ｑ正传》视为鲁迅对“辛亥革命”最深刻的反思，那么他就通过对“阿Ｑ姓什么”的讨论和对“赵老太爷不准阿Ｑ姓赵”的叙述，将“乡里空间”的崩溃作为反思“辛亥革命”的起点。这样来解读《阿Ｑ正传》，并非要证明鲁迅先知先觉般地反驳了从“乡里空间”到“各省之力”的“辛亥革命新论”，而是要揭示出他深刻地预见了“乡里空间”崩溃所带来的悲剧性与革命性并重的后果，也就是从原来似乎蒙上了一层温情脉脉的面纱的宗法制社会中自觉或不自觉地放逐出、驱赶出一批又一批“阿Ｑ”式的人物，他们就像一群又一群游荡在荒野上的孤魂野鬼，从而使得阿Ｑ的“解放”构成了重新理解“启蒙”的关键。

人类文明的起源是什么?什么因素造成了东方与西方文明体系的差异?这无疑是令人文学者一直感兴趣的问题。从“神话中的狼”出发, 探索西方文明的形成与发展足迹, 通过对于作为神话中“文化英雄”的狼来探索西方文明最初的特点, 或许可以接触西方文明的灵魂。

1924—1926年间，正是五四与国民大革命两个时代之间的过渡期，在外部环境遽变的刺激之下，五四启蒙阵营内部发生了一波又一波的分化与冲突。现代评论派与语丝派由于在学术文化体制中的不同位置，形成了不同的“文化惯习”，发生了绅士与名士的论战。而在语丝派文人内部，周作人的名士风度与鲁迅的斗士性格也有微妙的差别。鲁迅因此联合激进青年另办《莽原》杂志。但后五四一代的狂飙派青年，高唱“新流氓主义”，企图打倒五四的老师一辈取而代之，掌控新的话语主导权。这几场论战形成的风气，为之后连绵不绝的“知识人内战”开创了恶性的范例。

… its "Magic Theater," "Steppenwolf" Bar, its "Castalia… Steppenwolf Rock Quintet the Demian Singers, and the Abraxas records; television and the movies paid their respects;17 and Hesse …

… reflecting Hesse’s personal development, Steppenwolf … of the picture reflects the Goethe reception of the time. Goethe… Like Goethe, Hesse was drawn more to the wisdom of China …

… Steppenwolf, the most startling and controversial of Hesse’s novels, appeared that same … However, much more vital to Hesse than either poetic propriety, or his reception by the public, …

… of Hesse's and had remained a lifelong friend. It was this classical philologist who translated into Latin the motto which Hesse … To what scholar of Chinese philology does the Pariser …

… only a few of Hesse's books were translated (and are now … one's wrong which will shake the Steppenwolf no less than Emil … might be the invention of Chinese sages helped along by the …

Hermann Hesse’s Steppenwolf (1927) can be regarded as a post-humanist novel for several reasons. It is post-humanist in a temporal sense because it engages with the nineteenth-century humanist legacy from a twentieth-century perspective. The novel’s brazen critique of traditional bourgeois values does not simply reject humanism and its philosophy of individual autonomy. It dislodges idealist concepts of wholeness and self-perfection and replaces them with a multi-perspectival view of a continuously changing human consciousness, an open-ended process toward an ever-elusive self-awareness. The protagonist of Hesse’s novel, Harry Haller, even though still heavily influenced by the humanist tradition, can no longer be viewed as a clearly defined individual personifying the Cartesian dichotomy of body and mind. On the contrary, Hesse’s novel depicts Haller’s gradual disillusionment with this idealist world view by giving a detailed account of the deconstruction of his personality – a personality that, as it turns out, does not consist of a spiritual essence but dissolves into an accumulation of acquired conventions, habits, cultural and philosophical traditions, even specific historical events and constellations. Yet Hesse’s attempt to go beyond a mere negation of humanist values implies transcending the humanist paradigm in many respects, including its form. This essay will focus on the novel’s subversion of the humanist tradition. It discloses how Hesse’s novel undermines universalist philosophical claims, regardless of whether they belong to the idealist or anti-idealist Nietzschean philosophy that heavily influenced both the protagonist and his author. In light of the novel’s dismantling of binary reasoning, foregrounded in the protagonist’s man-animal division, the essay challenges conventional wisdom among critics who regard Hesse’s literary works as traditionalist.