本文選題：中國古典美學(xué) + 悲意識　； 參考：《鄭州大學(xué)》2005年碩士論文

【摘要】：直面中國古典文學(xué)藝術(shù)作品的現(xiàn)實(shí),可以發(fā)現(xiàn)一種特殊的藝術(shù)經(jīng)驗(yàn):即大量詩詞和古文中流露出來的人生如寄、韶華不在、“悲從中來”的沉痛之感,并且此一經(jīng)驗(yàn)脈脈相續(xù),構(gòu)成了中國古典美學(xué)審美經(jīng)驗(yàn)的一大特色。由于它飽含著莫可如何而又揮之不去的沉痛意味,可強(qiáng)為之名日“悲”。“悲”植根于人的個(gè)體存在,是在古文學(xué)中凝出的以人生悲傷體驗(yàn)為主要內(nèi)容的個(gè)體存在經(jīng)驗(yàn)。因此,從這個(gè)意義上也可以說它是一種特殊的審美經(jīng)驗(yàn)。本文將這種藝術(shù)經(jīng)驗(yàn)從中國古典文學(xué)作品中發(fā)掘出來,給予現(xiàn)象上的充分描述,集中地探討了《詩經(jīng)》、《楚辭》、漢魏之際和晉唐時(shí)期的悲意識,力圖揭示出中國古人一種特殊的審美意識狀況。 如何從哲學(xué)美學(xué)的角度解釋古典美學(xué)這一特殊的審美經(jīng)驗(yàn),即有古典美學(xué)理論研究暴露出了它的局限。從悲意識產(chǎn)生的根源上來考察,可以將原因追溯到有限個(gè)體的原初存在,這也就是從存在論的視角來考察。人首先是作為一個(gè)有限個(gè)體而存在的,有限個(gè)體依憑他的感官得來的就是這么一種悲的體驗(yàn),即悲是一種人生在世的存在經(jīng)驗(yàn)。而以道德為主的古代文化傳統(tǒng)極力將這一點(diǎn)抹去,它將人的存在定位在道德層面上,以為關(guān)涉群體倫理的道德才是人的存在事實(shí),并進(jìn)一步認(rèn)定人的道德屬性是與生俱來的。在具有鮮明樂生情懷的道德理想的燭照下,整個(gè)文化都呈現(xiàn)出一種樂的色調(diào)。其實(shí),人之存在的個(gè)體事實(shí)是難以遮蔽的,它不依主流文化傾向而轉(zhuǎn)移,有限個(gè)體之人的非道德存在比道德存在更具有先在性,關(guān)于它的經(jīng)驗(yàn)正是悲。也只有于人的個(gè)體存在上才能理解,為何在中國主流道德文化的樂生傳統(tǒng)中,會出現(xiàn)沉痛的悲意識�？傊�,在中國文化和哲學(xué)美學(xué)中,道德存在生出了樂感,非道德存在生出了悲感;前者居于主流,是顯在的,后者則是潛在于深層的個(gè)體存在經(jīng)驗(yàn);悲和樂的交織構(gòu)成了中國古代審美意識的整全。
[Abstract]:Facing the reality of Chinese classical literature and art works, we can find a special artistic experience: such as a large number of poems and ancient prose revealed in life such as send, Shaohua is not, "sadness comes from the" deep feeling, and this experience continues. It constitutes a major feature of aesthetic experience in Chinese classical aesthetics. Because it is full of how and lingering pain, can be better known as the day "sad." "sadness" is rooted in the individual existence of man and is the individual existence experience in ancient literature with the sad experience of life as the main content. Therefore, in this sense, it can also be said to be a special aesthetic experience. This article excavates this kind of artistic experience from the Chinese classical literature works, gives the phenomenon the full description, has discussed the "Book of songs", "Chu ci", the Han and Wei period and the Jin and Tang dynasties' sad consciousness, Trying to reveal a special aesthetic consciousness of ancient Chinese. How to explain the special aesthetic experience of classical aesthetics from the angle of philosophical aesthetics, that is, the study of classical aesthetics theory exposes its limitations. From the origin of tragic consciousness, we can trace the reason to the original existence of limited individual, which is from the perspective of existentialism. Man first exists as a finite individual, and the limited individual, based on his senses, is a sad experience, that is, sadness is a living experience of life. The ancient cultural tradition, which is based on morality, tries its best to erase this point. It orientates the existence of human beings on the moral level, thinks that the morality concerned with group ethics is the fact of existence of human beings, and further determines that the moral attributes of human beings are innate. Under the candlelight of moral ideal, the whole culture presents a kind of music tone. In fact, the individual fact of human existence is difficult to hide, it does not transfer according to the mainstream cultural tendency, the immoral existence of the limited individual is more preemptive than the moral existence, and the experience about it is just sad. Only in the individual existence can we understand why there is a sad sense of sadness in the tradition of Chinese mainstream moral culture. In short, in Chinese culture and philosophical aesthetics, moral existence gives rise to a sense of music, while non-moral existence gives birth to a sense of sadness. The interweaving of sadness and music constitutes the perfection of aesthetic consciousness in ancient China.
【學(xué)位授予單位】：鄭州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2005
【分類號】：B83

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 富天嬌;朝鮮審美情感“恨”研究[D];延邊大學(xué);2013年

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本文編號：2081800