本文選題：災(zāi)難 + 災(zāi)難意識(shí)��； 參考：《湘潭大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版)》2017年02期

【摘要】：當(dāng)代災(zāi)難文學(xué)內(nèi)涵缺乏認(rèn)同、創(chuàng)作力不足使得這一題材一直難以達(dá)到更高的藝術(shù)層面。災(zāi)難書(shū)寫(xiě)存在瓶頸,需要我們對(duì)與之相關(guān)的災(zāi)難以及災(zāi)難意識(shí)重新定位,也需要我們從情感的、倫理的以及人性的層面進(jìn)一步挖掘這一題材的審美意蘊(yùn),有所藝術(shù)突破。同時(shí),一個(gè)民族的寫(xiě)作方向離不開(kāi)本民族特有的文化心理認(rèn)同,鑒于我們民族表現(xiàn)出的“樂(lè)天知命”、“隨遇而安”的文化心理特征,災(zāi)難文學(xué)的“創(chuàng)傷書(shū)寫(xiě)”,則可以對(duì)這一題材如何實(shí)現(xiàn)藝術(shù)突破生發(fā)出一些建議與思考。
[Abstract]:The connotation of contemporary disaster literature lacks identity and creativity makes it difficult for this subject to reach a higher artistic level. There is a bottleneck in disaster writing, which requires us to reposition the disaster and disaster consciousness, and to further explore the aesthetic meaning of this subject from the emotional, ethical and human aspects, and to make an artistic breakthrough. At the same time, the writing direction of a nation can not be separated from the unique cultural psychological identity of its own nation. In view of the cultural psychological characteristics of "happy heaven and knowing destiny" and "making peace when the situation arises", and the "writing of trauma" in disaster literature, the writing direction of a nation can not be separated from the unique cultural psychology of its own. Then we can give some suggestions and thoughts on how to achieve the artistic breakthrough.
【作者單位】： 武漢工程大學(xué)外語(yǔ)學(xué)院;湖北科技學(xué)院;
【分類(lèi)號(hào)】：I206;;I0-02
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本文編號(hào)：1845457