本文關鍵詞：論恐怖與恐怖藝術的審美接受　出處：《山東大學》2006年博士論文　論文類型：學位論文

  更多相關文章： 恐怖 恐怖藝術 恐怖電影 審美經(jīng)驗

【摘要】：針對恐怖藝術在中國悄然興起，文藝美學研究者對此鮮有論及，卻存在把恐怖直接當作美學范疇的現(xiàn)狀，本文選取了恐怖藝術中發(fā)展最為成熟的恐怖電影為例，以中、西方相關研究為學術背景，本著歷史與邏輯相統(tǒng)一的原則，采取由具體到抽象的思路，通過分析恐怖電影審美接受中出現(xiàn)的恐怖與愉悅的悖論性關系，比較恐怖藝術的恐怖審美經(jīng)驗與其他類型審美經(jīng)驗的異同，從而達到對恐怖藝術的恐怖審美經(jīng)驗的把握。 在導論部分，本文針對國內研究現(xiàn)狀，提出亟待解決的問題，在對恐怖藝術、恐怖電影進行初步界定的基礎上，解釋以恐怖電影為例來分析問題的原因。通過分析國內外研究者對恐怖藝術審美接受的研究現(xiàn)狀，提出目前研究存在的兩大問題：一，研究的分裂論思路把恐怖藝術的審美經(jīng)驗切割成不同的獨立運轉的領域；二，學者們習慣把恐怖藝術的審美接受同悲劇作比、以現(xiàn)有美學概念來框范這種審美經(jīng)驗，見不出在新的文化歷史背景下形成的審美經(jīng)驗的特殊性。鑒于此，本文把理論基點放在審美接受的情感本身，吸收當代心理學研究成果，認為情感既是認知的結果、又組織認知、促使行動，是一種動力機制。情感的產(chǎn)生既包括進化過程中本能反應的一面，又包含對具體情境的利害關系的衡量，有評價的成分，，情感在從感覺到意識、從情緒狀態(tài)到人格特質的多級水平上并存，以此為基礎，確定了論文框架。 在第一章中，著重解決恐怖藝術如何讓人產(chǎn)生恐怖感的問題。本章共分五節(jié)，第一節(jié)區(qū)分了在中國學界一直混淆的兩個不同概念：“terror”與“horror”，指出在西方理論語境下，前者主要同不確定的事物有關，后者主要同可見的事物有關。本文認為在敘事性恐怖藝術的審美接受中，二者不能截然分開，由于恐怖電影的媒介特殊性，其審美接受中的恐怖感以“horror”為基礎。 在此基礎上，第二節(jié)中分析了恐怖電影激發(fā)的恐怖情感與現(xiàn)實、現(xiàn)實的恐怖的關系。恐怖電影激發(fā)恐怖情感的情境、關系、人物等是源于現(xiàn)實生活中激起恐怖情感的情境、關系、人物的，但不需要摹仿物質現(xiàn)實，而是可以變形、夸張、使之陌生化，建構類似于現(xiàn)實中的關系情境，激發(fā)恐怖情感�？植离娪�
[Abstract]:In view of the creeping rise of the art of terror in China, the researchers of literature and art aesthetics seldom discuss it, but there exists the present situation that regards terror directly as the category of aesthetics. This paper chooses the most mature horror film in the art of terror as an example. Based on the academic background of Chinese and Western studies and the principle of the unity of history and logic, this paper analyzes the paradoxical relationship between terror and pleasure in the aesthetic acceptance of horror films by taking the thinking from concrete to abstract. Compare the similarities and differences between horror aesthetic experience and other types of aesthetic experience of terror art, so as to grasp the horror aesthetic experience of terror art. In the introduction part, this article aims at the domestic research present situation, proposes the question which urgently needs to be solved, in carries on the preliminary definition to the terror art, the terror movie foundation. By analyzing the current situation of domestic and foreign researchers' research on the aesthetic acceptance of terror art, this paper puts forward two major problems in the present study: 1. The split theory of research cuts the aesthetic experience of terror art into different independent fields. Secondly, scholars are accustomed to compare the aesthetic acceptance of terror art with tragedy, and to frame this aesthetic experience with existing aesthetic concepts, we can not see the particularity of aesthetic experience formed under the new cultural and historical background. In this paper, the theoretical basis of aesthetic acceptance of emotion itself, the absorption of contemporary psychological research results, that emotion is not only the result of cognition, but also the organization of cognition, to promote action. Emotion is a kind of dynamic mechanism. The generation of emotion includes not only the side of the instinctive reaction in the evolution process, but also the measurement of the interest to the specific situation, the component of evaluation, the emotion is from feeling to consciousness. On the basis of multi-level coexistence from emotional state to personality trait, the thesis frame is determined. In the first chapter, we focus on how to solve the problem of how the art of terror makes people feel terrible. This chapter is divided into five sections. The first section distinguishes two different concepts which have been confused in Chinese academic circles: "terror" and "horror", pointing out that the former is mainly related to uncertain things in the western theoretical context. The latter is mainly related to visible things. This paper holds that in the aesthetic acceptance of narrative horror art, the two cannot be separated completely because of the particularity of the media of horror films. The sense of terror in its aesthetic acceptance is based on "horror". On this basis, the second section analyzes the relationship between the horror emotion and the reality, the real horror, the situation and the relationship between the horror film and the horror emotion. The characters are from the situation, the relationship, the character which arouses the terror emotion in the real life, but does not need to imitate the material reality, but can deform, exaggerate, make it defamiliarize, construct the relation situation similar to the reality. To inspire horror. Horror movies.
【學位授予單位】：山東大學
【學位級別】：博士
【學位授予年份】：2006
【分類號】：J01

【引證文獻】

相關期刊論文 前3條

1 郭捚;;解讀恐怖電影中的藝術元素[J];美與時代(下);2011年01期

2 石小溪;;“偽紀錄片式”恐怖片的中國實驗與市場初探[J];齊魯藝苑;2012年04期

3 賈利芳;張敏;;吸血鬼文學及其影視改編[J];語文教學通訊·D刊(學術刊);2011年06期

相關碩士學位論文 前10條

1 王晶;恐怖電影的價值論說[D];蘭州大學;2011年

2 徐俊;恐怖電影背后的文化價值[D];上海師范大學;2011年

3 高媛;當代美國驚悚電影類型化研究[D];西北師范大學;2010年

4 丁婕;好萊塢恐怖電影兒童形象解析[D];西北師范大學;2011年

5 王雪;顫栗中的愉悅[D];東北師范大學;2011年

6 蔣梅玲;顫栗伴著含淚的笑[D];廣西師范大學;2007年

7 張s

本文編號：1393780