本文關(guān)鍵詞：論恐怖與恐怖藝術(shù)的審美接受　出處：《山東大學(xué)》2006年博士論文　論文類(lèi)型：學(xué)位論文

  更多相關(guān)文章： 恐怖 恐怖藝術(shù) 恐怖電影 審美經(jīng)驗(yàn)

【摘要】：針對(duì)恐怖藝術(shù)在中國(guó)悄然興起，文藝美學(xué)研究者對(duì)此鮮有論及，卻存在把恐怖直接當(dāng)作美學(xué)范疇的現(xiàn)狀，本文選取了恐怖藝術(shù)中發(fā)展最為成熟的恐怖電影為例，以中、西方相關(guān)研究為學(xué)術(shù)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(guò)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(guān)系，比較恐怖藝術(shù)的恐怖審美經(jīng)驗(yàn)與其他類(lèi)型審美經(jīng)驗(yàn)的異同，從而達(dá)到對(duì)恐怖藝術(shù)的恐怖審美經(jīng)驗(yàn)的把握。 在導(dǎo)論部分，本文針對(duì)國(guó)內(nèi)研究現(xiàn)狀，提出亟待解決的問(wèn)題，在對(duì)恐怖藝術(shù)、恐怖電影進(jìn)行初步界定的基礎(chǔ)上，解釋以恐怖電影為例來(lái)分析問(wèn)題的原因。通過(guò)分析國(guó)內(nèi)外研究者對(duì)恐怖藝術(shù)審美接受的研究現(xiàn)狀，提出目前研究存在的兩大問(wèn)題：一，研究的分裂論思路把恐怖藝術(shù)的審美經(jīng)驗(yàn)切割成不同的獨(dú)立運(yùn)轉(zhuǎn)的領(lǐng)域；二，學(xué)者們習(xí)慣把恐怖藝術(shù)的審美接受同悲劇作比、以現(xiàn)有美學(xué)概念來(lái)框范這種審美經(jīng)驗(yàn)，見(jiàn)不出在新的文化歷史背景下形成的審美經(jīng)驗(yàn)的特殊性。鑒于此，本文把理論基點(diǎn)放在審美接受的情感本身，吸收當(dāng)代心理學(xué)研究成果，認(rèn)為情感既是認(rèn)知的結(jié)果、又組織認(rèn)知、促使行動(dòng)，是一種動(dòng)力機(jī)制。情感的產(chǎn)生既包括進(jìn)化過(guò)程中本能反應(yīng)的一面，又包含對(duì)具體情境的利害關(guān)系的衡量，有評(píng)價(jià)的成分，，情感在從感覺(jué)到意識(shí)、從情緒狀態(tài)到人格特質(zhì)的多級(jí)水平上并存，以此為基礎(chǔ)，確定了論文框架。 在第一章中，著重解決恐怖藝術(shù)如何讓人產(chǎn)生恐怖感的問(wèn)題。本章共分五節(jié)，第一節(jié)區(qū)分了在中國(guó)學(xué)界一直混淆的兩個(gè)不同概念：“terror”與“horror”，指出在西方理論語(yǔ)境下，前者主要同不確定的事物有關(guān)，后者主要同可見(jiàn)的事物有關(guān)。本文認(rèn)為在敘事性恐怖藝術(shù)的審美接受中，二者不能截然分開(kāi)，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(chǔ)。 在此基礎(chǔ)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(shí)、現(xiàn)實(shí)的恐怖的關(guān)系。恐怖電影激發(fā)恐怖情感的情境、關(guān)系、人物等是源于現(xiàn)實(shí)生活中激起恐怖情感的情境、關(guān)系、人物的，但不需要摹仿物質(zhì)現(xiàn)實(shí)，而是可以變形、夸張、使之陌生化，建構(gòu)類(lèi)似于現(xiàn)實(shí)中的關(guān)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(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2006
【分類(lèi)號(hào)】：J01

【引證文獻(xiàn)】

相關(guān)期刊論文 前3條

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

2 石小溪;;“偽紀(jì)錄片式”恐怖片的中國(guó)實(shí)驗(yàn)與市場(chǎng)初探[J];齊魯藝苑;2012年04期

3 賈利芳;張敏;;吸血鬼文學(xué)及其影視改編[J];語(yǔ)文教學(xué)通訊·D刊(學(xué)術(shù)刊);2011年06期

相關(guān)碩士學(xué)位論文 前10條

1 王晶;恐怖電影的價(jià)值論說(shuō)[D];蘭州大學(xué);2011年

2 徐俊;恐怖電影背后的文化價(jià)值[D];上海師范大學(xué);2011年

3 高媛;當(dāng)代美國(guó)驚悚電影類(lèi)型化研究[D];西北師范大學(xué);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(xué);2011年

5 王雪;顫栗中的愉悅[D];東北師范大學(xué);2011年

6 蔣梅玲;顫栗伴著含淚的笑[D];廣西師范大學(xué);2007年

7 張s

本文編號(hào)：1393780