本文選題：情感主義 + 文學(xué)現(xiàn)代性　； 參考：《西北大學(xué)》2016年博士論文

【摘要】：十八世紀(jì)中后期資本主義迅速崛起,英、法、德等歐洲主要國(guó)家社會(huì)生活日漸繁榮,文學(xué)藝術(shù)獲得了極大的發(fā)展空間�？茖W(xué)研究對(duì)感官經(jīng)驗(yàn)的高度重視,哲學(xué)與倫理學(xué)對(duì)道德情感的特別強(qiáng)調(diào),資產(chǎn)階級(jí)地位的上升與社會(huì)流動(dòng)性的增強(qiáng),衛(wèi)斯理派、虔敬派等強(qiáng)調(diào)信仰體驗(yàn)的基督教派的深入人心,婚姻家庭觀念的進(jìn)步以及女權(quán)意識(shí)的覺(jué)醒,塑造了“情感時(shí)代”的整體社會(huì)文化環(huán)境。在這樣的社會(huì)文化背景之下,一場(chǎng)打破理性主義的古典傳統(tǒng),在文學(xué)創(chuàng)作與批評(píng)中體現(xiàn)出新的情感中心的認(rèn)識(shí)論,推崇高尚的道德情感,熱衷表現(xiàn)細(xì)膩溫柔又一觸即發(fā)的內(nèi)在感受的文學(xué)、文化思潮在歐洲各國(guó)蓬勃興起,推動(dòng)了文學(xué)現(xiàn)代性的生成。思想領(lǐng)域?qū)Φ赖抡軐W(xué)的強(qiáng)烈關(guān)注,文學(xué)藝術(shù)中對(duì)“同情”與“仁愛(ài)”美德的推崇構(gòu)成了英國(guó)情感主義思潮的主要基調(diào),對(duì)新古典主義美學(xué)的反抗與對(duì)理性絕對(duì)統(tǒng)治的批判則是法國(guó)情感主義思潮得以孕育的突出背景,而世俗化的虔敬主義運(yùn)動(dòng)則為德意志情感主義思潮的發(fā)展繁榮提供了肥沃的土壤。雖然這一思潮因?yàn)椴煌拿褡逦幕刭|(zhì)在各國(guó)表現(xiàn)出不同的特色,但是情感主義文學(xué)通過(guò)審美的形式承擔(dān)起以往道德教化、宗教信仰的功能,并進(jìn)一步爭(zhēng)取獨(dú)立的過(guò)程也表現(xiàn)出文學(xué)現(xiàn)代性發(fā)展的共性。情感主義思潮還促使文學(xué)各主要文類產(chǎn)生了通俗化的發(fā)展趨向。感傷小說(shuō)大量涌現(xiàn),為了迎合普通市民趣味,形成了特定的人物類型、情節(jié)模式。情感戲劇則在題材上更關(guān)注普通人的戀愛(ài)婚姻、公眾焦慮的社會(huì)問(wèn)題,側(cè)重選擇能產(chǎn)生強(qiáng)烈情感沖擊的情境,在體裁上打開(kāi)了傳統(tǒng)悲、喜劇的界限。而在這一思潮的影響下,詩(shī)歌題材的平民化傾向,詩(shī)歌結(jié)構(gòu)的散文化趨勢(shì),以及詩(shī)歌語(yǔ)言的日常化追求也為其打上了鮮明的時(shí)代印跡。對(duì)于讀者來(lái)說(shuō),通俗化的寫(xiě)情文學(xué)以“白日夢(mèng)”的方式宣泄了市民階層的感性欲望,其道德教化之外的娛樂(lè)功能逐漸彰顯。一方面,對(duì)于這些作家來(lái)說(shuō),作品的暢銷使其經(jīng)濟(jì)地位得到很大提升,甚至出現(xiàn)了一些成功的職業(yè)作家；另一方面,文學(xué)作品藝術(shù)性與商品性的關(guān)系也成為更多作家反思爭(zhēng)論的焦點(diǎn)。在詩(shī)學(xué)領(lǐng)域,情感主義詩(shī)學(xué)對(duì)“審美同情”的探討使得文學(xué)批評(píng)轉(zhuǎn)向主體的情感,關(guān)注審美感受的內(nèi)在根源,由此邁出了審美現(xiàn)代性的重要一步：批評(píng)家們對(duì)文學(xué)藝術(shù)起源的探討更是確立了情感表現(xiàn)的本源地位；而對(duì)文學(xué)作品情感效果的關(guān)注則打破了審美趣味的標(biāo)準(zhǔn)化,進(jìn)而促進(jìn)了剛剛興起的美學(xué)對(duì)崇高、秀美、如畫(huà)等多元審美范疇的研究。由對(duì)外在事件的關(guān)注轉(zhuǎn)向?qū)θ宋飪?nèi)心世界的刻畫(huà),是寫(xiě)情文學(xué)的突出特征,而這種內(nèi)在轉(zhuǎn)向促使情感小說(shuō)的敘事呈現(xiàn)出碎片化與對(duì)話性的獨(dú)特面貌。在小說(shuō)剛剛興起的18世紀(jì),其區(qū)別于傳統(tǒng)敘事文學(xué)的這兩大敘事特征無(wú)疑具有不容忽視的創(chuàng)新意義。在社會(huì)現(xiàn)代性初顯的時(shí)代背景下,情感主義文學(xué)塑造了大量具有普遍意義的“自我”形象�，F(xiàn)代性原則從根本上說(shuō)就是主體性的自我確證或主體的自由,而情感主義文學(xué)從生命存在、社會(huì)價(jià)值、性別角色等角度展開(kāi)的對(duì)“自我”的塑造,正是構(gòu)建所謂“現(xiàn)代主體”的過(guò)程。重審十八世紀(jì)的這一思潮,其精神導(dǎo)向并非在感傷愁緒中沉溺淪落,而是在真情與淚水中真正回溯到現(xiàn)代人性中被日漸遺忘、掩蓋甚至壓抑了的道德根源。復(fù)歸文學(xué)現(xiàn)代性的本源,還原十八世紀(jì)情感主義思潮的真實(shí)面目,賦予真情與美德應(yīng)有的地位,重建本真性自我,在追根溯源中提振現(xiàn)代性的批判反思能力,顯然具有其特別的意義。
[Abstract]:In the mid and late eighteenth Century, capitalism developed rapidly. The social life of the major European countries, such as Britain, France and Germany, became more and more prosperous. The literature and art gained a great development space. The scientific research paid great attention to the sensory experience, the special emphasis of philosophy and ethics on moral emotion, the rise of the status of the capitalist class and the enhancement of social mobility. The Christian school, which emphasizes the belief experience, is deeply rooted in the hearts of the Christian schools, the progress of the concept of marriage and family and the awakening of the feminist consciousness, which portray the overall social and cultural environment of the "emotional age". Under such a social and cultural background, a new tradition of breaking the rationalism is reflected in the literary creation and criticism. The epistemology of the emotional center, the admiration of noble moral sentiments, the passion for the expression of delicate tender and immanent inner feelings, the cultural trend of thought flourished in European countries, promoted the creation of the modernity of literature, the strong concern of the moral philosophy in the field of thought, and the esteem of the virtues of "sympathy" and "benevolence" in literary art. The main keynote of the British emotist trend is that the resistance to Neo Classical Aesthetics and the criticism of the absolute rule of reason are the prominent background of the French emotist trend, and the secularization of the devout movement provides fertile soil for the development and prosperity of the idealism of German emoticonism. Different ethnic cultural characteristics show different characteristics in various countries, but emotional literature, through aesthetic form, assumes the past moral education, the function of religious belief, and the process of gaining independence further shows the commonness of the development of literary modernity. In order to cater to the interest of the ordinary citizens, the sentimental novels have formed a specific type of character, the plot pattern, and the emotional drama pays more attention to the love and marriage of the ordinary people, the social problems of the public anxiety, the choice of the situation that can produce strong emotional punching, and the traditional tragedy and comedy in the genre. Under the influence of this trend of thought, the populace tendency of the poetic theme, the scattered culture trend of the poetry structure, and the daily pursuit of the poetic language have also marked a distinct time imprinting for the readers. For readers, the popular sentimental literature vented the sensuous desire of the townspeople in a "daydream" way and its moral education. On the one hand, for these writers, the best selling of the works has greatly improved its economic status and even appeared some successful professional writers. On the other hand, the relationship between the artistic and commercialization of literary works has become the focus of more writers' debate. In the field of poetics, emotionally Poetics The discussion of "aesthetic sympathy" makes the literary criticism turn to the emotion of the subject and pay attention to the inner root of the aesthetic feeling, which has taken an important step in the Aesthetic Modernity: the critics' discussion on the origin of literature and art has established the origin of the emotional expression, while the attention to the emotional effect of the literary works has broken the aesthetic interest. The standardization of the taste has promoted the research on the aesthetic category of the newly rising aesthetics, such as lofty, beautiful and picturesque. From the attention to the external events to the portrayal of the inner world of the characters, it is the prominent feature of the love literature, and the inner turn makes the narrative of the emotional novel present a unique feature of fragmentation and dialogism. The two narrative features, which are different from the traditional narrative literature, have no doubt of an innovative meaning that can not be ignored. In the background of the age of social modernity, the emotional literature has created a large number of "self" images of universal significance. The principle of modernity is fundamentally the self assurance of the subjectivity. The creation of "self" from the aspects of life existence, social value and sex role is the process of building the so-called "modern subject". The ideological trend of the retrial of the eighteenth Century is not drowning in sentimentality and melancholy, but back in true feelings and tears. To the modern human nature, it has been forgotten and even repressed the moral root of the modern nature. Returning to the origin of the modernity of literature, restoring the true face of the emotional trend of eighteenth Century, giving the status of the true feelings and virtue, reconstructing the true self, and promoting the critical reflection of Modernity in the root of its origin, obviously has its special significance.
【學(xué)位授予單位】：西北大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：I109
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本文編號(hào)：2078366