本文選題：《世說新語》 + 死亡意識��； 參考：《山東師范大學(xué)》2017年碩士論文

【摘要】：魏晉士人鮮明獨特的死亡意識集中反映在《世說新語》中,本文對《世說新語》中魏晉士人死亡意識的研究共分為兩部分:第一部分即論文第一章,是死亡意識本體論探討�；谒劳霈F(xiàn)象學(xué)的理論,在第一節(jié)中給與了“死亡”這一概念新的界定,引入海德格爾“向死而生”的死亡內(nèi)涵,將死亡視為人類存在的本質(zhì)方式;第二節(jié)辨析了死亡意識與生命意識的關(guān)系,論證了對死亡意識的研究具有獨立的本體論意義。第三節(jié)則闡釋了死亡意識對人類生存信念產(chǎn)生的影響,指出了死亡意識的覺醒是生存信念建構(gòu)的基礎(chǔ),從而揭示了死亡對人類生存與價值選擇的重要意義。第四節(jié)對死亡意識的價值進行了闡釋,指出了死亡意識是人之為人的內(nèi)在規(guī)定性,對死亡的超越是人類文化產(chǎn)生的根源這兩點死亡意識所具有的最為重要的價值。第二部分即論文第二、三、四章,在第一部分的理論基礎(chǔ)上,對《世說新語》中表現(xiàn)出來的魏晉死亡意識及其影響、價值進行了深入分析,按照“什么樣的死亡意識”“死亡意識對士人生命產(chǎn)生了何種影響”“怎樣超越死亡痛苦”的邏輯思路進行了論述。第二章解決“什么樣的死亡意識”這一問題。在第一節(jié)中指出與秦漢死亡意識的群體性特征不同,個體死亡意識已然覺醒,士人已開始了對“死亡”本身的獨立思考,主要表現(xiàn)在基于個體情感基礎(chǔ)之上的對死亡的濃重情緒,即對死亡的“深情”與“真情”以及將這種情“升華”為宇宙人生之嘆;第二節(jié)指出在死亡意識覺醒后,死亡時時刻刻以在場的方式出現(xiàn),士人產(chǎn)生了強烈的乃至極端的“畏死戀生”意識,表現(xiàn)在生活實踐中便是“時光之嘆”與“服藥之風(fēng)”;第三節(jié)論述了士人具有時代特色與魅力的死亡意識即將死亡藝術(shù)化,以藝術(shù)的精神面對死亡、消解死亡:首先,表現(xiàn)為將死亡過程與喪葬悼念方式藝術(shù)化;其次,表現(xiàn)在士人主要通過唱挽歌的藝術(shù)方式表達自己對死亡的感知與體認(rèn)。第三章解決“死亡意識對士人生命產(chǎn)生了何種影響”這一問題。影響表現(xiàn)在精神生活與實踐生活兩個層面,而這二者的連接點便在于士人生存信念的建構(gòu)。第一節(jié)指出,“名教”與“自然”之爭的實質(zhì)即是生存信念之爭:“名教”所代表的是傳統(tǒng)的群體性倫理性的儒家生存信念,而“自然”則是基于個體死亡意識重新建構(gòu)起來的時代生存信念;第二節(jié)分析了“名教”與“自然”生存信念共存的情況,并對其進行了反思,指出魏晉正處于價值觀過渡的時代,新的死亡意識的出現(xiàn)正是“自然”生存信念出現(xiàn)的基礎(chǔ);第三節(jié)探討了“名教”與“自然”生存信念的矛盾,并在這一意義基礎(chǔ)上對“自然”概念進行了新的界定,一是指士人人生價值的確立以個體本性為原則,二是指士人生活行為方式以遵從內(nèi)心真實體驗與感受為指導(dǎo),其核心點就在于對人的本性與內(nèi)心真實體驗的重視。第四章解決“怎樣超越死亡痛苦”這一問題。主要分析了魏晉士人所選擇的諸種超越策略,指出了真正有效的審美超越方式。第一節(jié)分析了儒家信仰下的不朽沖動和現(xiàn)實生活中的及時行樂兩種超越死亡痛苦的方式,但由于個體死亡意識的覺醒故此兩種方式并非真正有效;第二節(jié)論述了士人所選擇的審美體驗的終極超越方式,指出死亡意識帶來的精神失衡導(dǎo)致了相應(yīng)審美需要的產(chǎn)生,并分析了魏晉士人以自然審美體驗中的“應(yīng)目”“會心”“暢神”三種境界,以及將審美體驗貫穿于整個生命過程,以審美態(tài)度對待現(xiàn)世生命實踐來實現(xiàn)對死亡的終極超越。
[Abstract]:The distinctive and unique consciousness of death of the scholars in the Wei and Jin Dynasties is reflected in the new language of the world. The study of the death consciousness of the scholars in the Wei and Jin Dynasties is divided into two parts: the first part is the first chapter, the ontology of death consciousness. The concept of death based on the phenomenology of death gives a new concept of "death" in the first section. In the second section, the second section distinguishes the relationship between the consciousness of death and the consciousness of life, and demonstrates the independent ontological significance of the study of death consciousness. The third section explains the influence of the consciousness of death and death to the belief of human existence. The awakening of the consciousness of death is the foundation of the construction of the belief in survival, which reveals the importance of death to the choice of human existence and value. The fourth section explains the value of death consciousness, and points out that death consciousness is the inherent stipulation of human being, and the transcendence of death is the root of human culture. The second part is the most important value. The second part is the second, third and the four chapter. On the basis of the theory of the first part, the value of the death consciousness and its influence in the Wei and Jin Dynasty is analyzed deeply, and what kind of influence "what kind of death consciousness has on the life of the scholar" according to "what kind of death consciousness" "how" The second chapter solves the problem of "what kind of death consciousness". In the first section, it points out that the group characteristics are different from the death consciousness of the Qin and Han Dynasties, the consciousness of individual death has been awakened, and the scholars have begun to think independently of the "death" itself, mainly based on the individual emotional base. On the basis of the heavy emotion of death, that is, "deep feeling" and "true love" to death and the "sublimation" of this kind of feeling, the second section points out that after the awakening of death consciousness, death always appears in the manner of presence, and the scholars have produced a strong sense of "fear of death and love of life" at the most extreme end, and is manifested in the practice of life. The third section discusses that the death consciousness of the people who have the characteristics and charm of the times is about to die, and the spirit of art faces death and dispels the death. First, it shows the art of the death process and funeral mourning, and secondly, the scholars mainly through the art side singing the elegy. The third chapter solves the problem of "the influence of death consciousness on the life of the scholar". The influence is manifested in two aspects of spiritual life and practical life, and the connection point of the two lies in the construction of the belief of the man's life. The first section refers to the essence of the dispute between "the name teaching" and "nature" It is the struggle for belief in survival: the "name religion" represents the traditional group ethics of Confucian belief in Confucian survival, and "nature" is based on the reconstructive belief of the age of individual death; the second section analyses the coexistence of "name religion" and "nature" belief in existence, and rethinks it and points out Wei Jinzheng In the time of the transition of values, the emergence of a new consciousness of death is the basis of the emergence of the belief of "natural" survival. The third section discusses the contradiction between the "name religion" and the belief of "nature", and a new definition of the concept of "nature" on the basis of this meaning, one is that the establishment of the value of the man's life is based on the individual nature as the original. On the other hand, the two is to guide the people's life and behavior way in order to obey the real experience and feelings of the heart. The core point is to pay attention to the human nature and inner real experience. The fourth chapter solves the problem of "how to transcend the pain of death". It mainly analyzes the transcendental strategies chosen by the scholars in the Wei and Jin Dynasties, and points out the true and effective aesthetic transcendence. The first section analyses the two ways of transcending the pain of death in the immortal impulse under the Confucian belief and the real life in the real life, but the awakening of the consciousness of individual death is not really effective, and the second section discusses the ultimate transcendence of the aesthetic experience chosen by the scholars and points out the essence of death consciousness. The unbalance of God leads to the emergence of the corresponding aesthetic needs, and analyzes the three states of the scholars of the Wei and Jin Dynasties in the natural aesthetic experience of "the eye", "the heart" and "unobstructed God", as well as the aesthetic experience through the whole life process, and the aesthetic attitude towards the life practice of the world to achieve the ultimate transcendence of death and death.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：I207.41

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