本文選題：審美同情觀　切入點：江格爾　出處：《內(nèi)蒙古師范大學(xué)》2010年碩士論文　論文類型：學(xué)位論文

【摘要】： 人類社會歷史發(fā)展的共同過程具有一致性和規(guī)律性,而比較文學(xué)作為一種開放性的文學(xué)研究,其具有宏觀的視野和國際的角度�！督駹枴放c《伊利亞特》之比較,可以在跨文化的文學(xué)關(guān)系中相對照,以幫助我們認(rèn)識總體文學(xué)乃至人類文化的基本規(guī)律。 以《伊利亞特》為代表的西方海洋文化和以《江格爾》為代表的東方草原文化是產(chǎn)生于異質(zhì)文明系統(tǒng)之中的文化類型。其中,以“萬物有靈觀”為哲學(xué)認(rèn)識論基礎(chǔ)的東方“審美同情觀”更多的表現(xiàn)為“寄情于物”、“情景交融”,屬于一種處于同等地位上的主客體情感生命意識的互滲、互致、互感。其突出強調(diào)的是審美客體對主體的情感影響,審美主體在審美過程中處于一種相對被動的位置。而以“心物二元論”為哲學(xué)認(rèn)識論基礎(chǔ)的西方審美移情理論則屬于一個獨立的理論范疇,其突出強調(diào)的是審美主體在審美過程中自身情感的遷移,在處理主客體之間的關(guān)系時,主體始終是居于客體之上的,表現(xiàn)為一種思維或行為的主動。本文即欲著重從二者的審美層面對史詩進行一定程度上的比較研究,從而進一步了解處于不同文化類型下的人們,其審美觀念在社會生活細(xì)節(jié)中的體現(xiàn),其精神信仰在社會精神生活層面上的流露,以及由于不同人物形象的塑造而展現(xiàn)出來的深層的生命思考。 本文共分六個部分: 第一部分為引言,主要闡述了論文研究的背景與意義、歷史與現(xiàn)狀、思路與新意所在。 第二部分主要探究源于原始思維的審美,并最終根據(jù)東西方不同的審美思維確定本文所指的審美內(nèi)涵。 第三部分主要對東西方美學(xué)中的審美觀進行學(xué)理上的闡發(fā)。在對東方審美“同情觀”與西方審美“移情說”給予界定的同時,分析這兩種審美觀所獨立存在的哲學(xué)基礎(chǔ),即對“萬物有靈觀”與“心物二元論”加以闡說。 第四部分主要分析《江格爾》與《伊利亞特》審美表征的不同與相同表現(xiàn)。對于不同思維模式影響下的審美,兩部史詩表現(xiàn)出了“物我同一”與“彰顯個性”的審美分歧,同時也展現(xiàn)出了以生命與榮譽為內(nèi)涵的審美趨同意識。 第五部分主要從文明以及文化的視角對東方與西方史詩之所以表現(xiàn)出不同的審美表征進行一定程度上的成因解讀。 第六部分為結(jié)語,史詩審美并非屬于一個恒定的概念范疇,其在特定的時代里固然有相對恒定的審美意蘊,但卻是而且應(yīng)該是始終處于發(fā)展之中的活態(tài)現(xiàn)象。應(yīng)該明了,正確對待史詩審美對民族文學(xué)的發(fā)展作用匪淺。
[Abstract]:The common process of the historical development of human society is consistent and regular, while comparative literature, as an open literary study, has a macroscopic view and an international perspective. It can be contrasted in cross-cultural literary relations to help us understand the basic laws of general literature and even human culture. Western marine culture, represented by Iliad, and Oriental grassland culture, represented by Jangger, are the types of culture that originated in the heterogeneous civilization system. On the basis of the philosophical epistemology, the oriental "aesthetic view of sympathy", which is based on the philosophical epistemology of "all things and animism", is more manifested in the expression of "feeling in things" and "blend of feelings and scenes", which belongs to the mutual permeation of the emotional life consciousness of the subject and object in the same position. Mutual sensation. What it highlights is the emotional influence of the aesthetic object on the subject, The aesthetic subject is in a relatively passive position in the aesthetic process, while the western aesthetic empathy theory, which is based on the philosophical epistemology, belongs to an independent theoretical category. In the process of aesthetic appreciation, the subject is always above the object when dealing with the relationship between the subject and the object. This paper focuses on the comparative study of epics from their aesthetic level, so as to further understand the people in different cultural types. Its aesthetic concept is embodied in the details of social life, its spiritual belief is revealed on the level of social spiritual life, and the deep thinking of life is revealed by the creation of different characters' images. This paper is divided into six parts:. The first part is the introduction, mainly expounds the background and significance, history and current situation, ideas and new ideas. The second part mainly explores the aesthetics originated from the primitive thinking and finally determines the aesthetic connotation of this paper according to the different aesthetic thinking between the East and the West. The third part mainly expounds the aesthetics of the East and the West. While defining the "view of sympathy" and the "empathy theory" of the western aesthetics, the author analyzes the philosophical basis of the independent existence of the two aesthetic standards. That is to say, the concept of animism and the dualism of mind and object are expounded. The 4th part mainly analyzes the difference and the same expression of the aesthetic representation of "Jangger" and "Iliad". The two epics show the aesthetic differences between "the same thing, I" and "showing individuality" for the aesthetic under the influence of different thinking modes. At the same time, it also shows the aesthetic convergence consciousness with the connotation of life and honor. The 5th part mainly explains the reason why the oriental and western epics show different aesthetic characteristics from the angle of civilization and culture. The 6th part is the conclusion. Epic aesthetics does not belong to a constant conceptual category. Although it has a relatively constant aesthetic implication in a particular era, it is and should be a living phenomenon in development all the time. The correct treatment of epic aesthetics plays an important role in the development of national literature.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2010
【分類號】：I0-03;I106

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