中國古代“物化”理論和文學(xué)創(chuàng)作規(guī)律
發(fā)布時間：2018-07-17 06:48
【摘要】： 東西方的美學(xué)理論,有相同的共性,但文化的差異,使得它們又具有明顯的差異。中國古代“物化”理論與西方“移情”說分屬中西文化領(lǐng)域的兩個范疇�！耙魄椤闭f是20世紀(jì)初以德國美學(xué)家立普斯為代表的美學(xué)家提出的一種頗有影響的學(xué)說;中國古代“物化”理論以先秦時期老子提出的“惚恍”為萌芽,經(jīng)歷了起始期、發(fā)展期、深化期和成熟期各個不同階段的充實(shí)和完善,最終形成了一種具有民族特色的審美創(chuàng)造理論,在古代文學(xué)藝術(shù)的創(chuàng)作中,發(fā)揮著積極的、獨(dú)特的作用�！耙魄椤闭f和“物化”理論都強(qiáng)調(diào)把人的情感、意志投射到所面對的對象之中去,都可以有有意識的想象參與其中。不同的是,兩者對想象的認(rèn)識是不一樣的。其次,西方“移情”說的前提是物本無情,物沒有地位,已被我取而代之,物的審美價值是人通過移情而賦予的;在中國古人那兒,物有獨(dú)立的價值和意義,我化入、契入物而不是取代物,這才是真正的“物我同一”。而要實(shí)現(xiàn)“物化”狀態(tài)的必經(jīng)之途是以虛靜之心觀照審美對象,這是文學(xué)藝術(shù)創(chuàng)作過程中的心理醞釀和準(zhǔn)備。 “五四”時期文壇出現(xiàn)了一些激進(jìn)的、偏激的文學(xué)觀念,例如新文化運(yùn)動的領(lǐng)袖陳獨(dú)秀大張“文學(xué)革命”之旗,要求推倒雕琢的、阿諛的貴族文學(xué),陳腐的、鋪張的古典文學(xué)以及迂晦的、艱澀的山林文學(xué),“曰推倒雕琢的、阿諛的貴族文學(xué),建設(shè)平易的、抒情的國民文學(xué)。曰推倒陳腐的、鋪張的古典文學(xué),建設(shè)新鮮的、立誠的寫實(shí)文學(xué)。曰推倒迂晦的、艱澀的山林文學(xué),建設(shè)明了的、通俗的社會文學(xué)�！痹诋�(dāng)時那種激進(jìn)的文學(xué)革命形勢之下,對“物化”這樣的古老理論更是認(rèn)為其會讓人變得甘于現(xiàn)狀、毫無作為,不適應(yīng)當(dāng)時要求積極行動的革命形勢,因此一概加以否定。實(shí)際上“物化”思想是中國古典文藝學(xué)、美學(xué)“物化”觀念的理論起點(diǎn),中國古代文論中包含的許多藝術(shù)思想是體系完整、較為規(guī)范、具有創(chuàng)造性的,對今天的文學(xué)藝術(shù)創(chuàng)作仍然富有積極的啟發(fā)和指導(dǎo)意義。中國文藝?yán)碚摻缡芪鞣轿乃嚴(yán)碚撚绊戄^深,習(xí)慣于用西方的理論分析文學(xué)問題,往往忽視了中國古代文論的意義和價值。誠然,西方文論有一定的借鑒作用和價值,但如果不加思考地全盤接受、全盤運(yùn)用的話,那么結(jié)果往往導(dǎo)致西方的思維模式占據(jù)了主導(dǎo),而本民族優(yōu)秀的文化理論遺產(chǎn)則被忽略甚至棄之不顧。 本文選擇中國古代“物化”理論與西方“移情”說進(jìn)行比較,在得出兩者相通之處的同時,結(jié)合中西方不同的思考習(xí)慣和欣賞習(xí)慣分析出產(chǎn)生差異的原因,并且闡明了以虛靜之心進(jìn)行審美觀照,與審美對象融為一體、主客合一,是文學(xué)藝術(shù)創(chuàng)作中一種必備的心理素質(zhì)。舍此,無法進(jìn)入文學(xué)藝術(shù)創(chuàng)作的最高境界。由此提升出中國古代“物化”理論的意義和價值,目的正是站在今天的理論立場重新發(fā)掘和認(rèn)識中國古代文論的價值和它對今天文學(xué)藝術(shù)創(chuàng)作的啟示和借鑒作用。
[Abstract]:The aesthetic theories of the East and the West have the same commonness, but the differences in culture make them distinctly different. The theory of "materialization" in ancient China and the "Empathy" in the West belong to two categories in the field of Chinese and Western culture. "Empathy" is a kind of influence put forward by the aesthetical aesthetian represented by the German aesthetical lip at the beginning of the twentieth Century. The theory of "materialization" in ancient China was sprouted by the "trance" proposed by Lao Tzu in the pre Qin period, experiencing the enrichment and perfection of the different stages of the beginning, development, deepening and maturity, and finally formed a theory of aesthetic creation with national characteristics. In the creation of ancient literature and art, it has played a positive and unique role. The theory of "Empathy" and "materialization" emphasize that people's emotions and will are projected into the objects they face, and they all have a conscious imagination to participate. The difference is that the two are different to the imagination. Secondly, the premise of "Empathy" in the west is the ruthlessness of the object, the absence of the status, and the substitution of me. The aesthetic value of things is given by people through empathy; in the Chinese ancient people, things have independent value and significance. I change into things and not replace things. This is the real "thing and me one". And the way to realize the state of materialization is to observe the aesthetic object with the heart of the quiet and quiet. This is the process of literary and artistic creation. Psychological brewing and preparation.
In the "54" period, there were some radical, extreme literary ideas, such as the banner of Chen Duxiu, the leader of the new cultural movement, the banner of "Literary Revolution", which demanded the overthrow of carved, flattering aristocratic literature, stale, extravagant classical literature, and obscure, artuous mountain literature, "overthrow the carved, flattering aristocratic literature, To build an easy and lyrical national literature, to push down the old, open classical literature, to build a fresh and honest, realistic literature, to overthrow the obscure, arcane mountain literature, to build a clear and popular social literature. "Under the radical literary revolution of that time, the ancient theory of" materialization "was considered more. In fact, the thought of "materialization" is the theoretical starting point of the Chinese classical literature and art and the concept of "materialization" of aesthetics, and many of the artistic ideas contained in ancient Chinese literary theory are complete, more standard and creative. The Chinese literary and artistic theorists are deeply influenced by the western literary theory and are accustomed to analyzing the literary problems with the western theory, often ignoring the significance and value of the ancient Chinese literary theory. When the thinking is all accepted and fully used, the result often leads to the dominant western thinking mode, while the excellent cultural heritage of the nation is ignored or even discarded.
This paper compares the theory of "materialization" in ancient China with the theory of "Empathy" in the west, and analyzes the reasons for the difference in production by combining the different thinking habits and appreciation habits of the western and Chinese, and clarifies the integration of aesthetic objects with the aesthetic objects and the unity of the subject and the guest and the literature. A necessary psychological quality in artistic creation can not enter the highest realm of literary and artistic creation. Thus, the meaning and value of the theory of "materialization" in ancient China is promoted. The purpose is to rediscover and understand the value of ancient Chinese literary theory and its inspiration and reference to today's literary and artistic creation from the standpoint of today's theory. Effect.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2008
【分類號】：I04
本文編號：2129470
[Abstract]:The aesthetic theories of the East and the West have the same commonness, but the differences in culture make them distinctly different. The theory of "materialization" in ancient China and the "Empathy" in the West belong to two categories in the field of Chinese and Western culture. "Empathy" is a kind of influence put forward by the aesthetical aesthetian represented by the German aesthetical lip at the beginning of the twentieth Century. The theory of "materialization" in ancient China was sprouted by the "trance" proposed by Lao Tzu in the pre Qin period, experiencing the enrichment and perfection of the different stages of the beginning, development, deepening and maturity, and finally formed a theory of aesthetic creation with national characteristics. In the creation of ancient literature and art, it has played a positive and unique role. The theory of "Empathy" and "materialization" emphasize that people's emotions and will are projected into the objects they face, and they all have a conscious imagination to participate. The difference is that the two are different to the imagination. Secondly, the premise of "Empathy" in the west is the ruthlessness of the object, the absence of the status, and the substitution of me. The aesthetic value of things is given by people through empathy; in the Chinese ancient people, things have independent value and significance. I change into things and not replace things. This is the real "thing and me one". And the way to realize the state of materialization is to observe the aesthetic object with the heart of the quiet and quiet. This is the process of literary and artistic creation. Psychological brewing and preparation.
In the "54" period, there were some radical, extreme literary ideas, such as the banner of Chen Duxiu, the leader of the new cultural movement, the banner of "Literary Revolution", which demanded the overthrow of carved, flattering aristocratic literature, stale, extravagant classical literature, and obscure, artuous mountain literature, "overthrow the carved, flattering aristocratic literature, To build an easy and lyrical national literature, to push down the old, open classical literature, to build a fresh and honest, realistic literature, to overthrow the obscure, arcane mountain literature, to build a clear and popular social literature. "Under the radical literary revolution of that time, the ancient theory of" materialization "was considered more. In fact, the thought of "materialization" is the theoretical starting point of the Chinese classical literature and art and the concept of "materialization" of aesthetics, and many of the artistic ideas contained in ancient Chinese literary theory are complete, more standard and creative. The Chinese literary and artistic theorists are deeply influenced by the western literary theory and are accustomed to analyzing the literary problems with the western theory, often ignoring the significance and value of the ancient Chinese literary theory. When the thinking is all accepted and fully used, the result often leads to the dominant western thinking mode, while the excellent cultural heritage of the nation is ignored or even discarded.
This paper compares the theory of "materialization" in ancient China with the theory of "Empathy" in the west, and analyzes the reasons for the difference in production by combining the different thinking habits and appreciation habits of the western and Chinese, and clarifies the integration of aesthetic objects with the aesthetic objects and the unity of the subject and the guest and the literature. A necessary psychological quality in artistic creation can not enter the highest realm of literary and artistic creation. Thus, the meaning and value of the theory of "materialization" in ancient China is promoted. The purpose is to rediscover and understand the value of ancient Chinese literary theory and its inspiration and reference to today's literary and artistic creation from the standpoint of today's theory. Effect.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2008
【分類號】：I04
【參考文獻(xiàn)】
相關(guān)期刊論文 前4條
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