本文選題：嫦娥　切入點(diǎn)：審美文化　出處：《山東大學(xué)》2009年碩士論文　論文類型：學(xué)位論文

【摘要】： 嫦娥形象出現(xiàn)在神話、傳說、詩歌、小說、戲曲、舞蹈、雕塑、影視等多種藝術(shù)形式中,是一個(gè)集人類最初關(guān)于生死的審美化觀念、歷史發(fā)展進(jìn)程中中國女性形象的審美文化、女性對愛情和婚姻中被賦予角色的審美化詮釋等意義于一身的藝術(shù)形象,相比于女媧、西王母等形象具有更廣泛的審美文化內(nèi)涵。對嫦娥形象的研究與探索離不開中國審美文化的特定背景,從審美的層面去定義文化,文化是指“一種非物質(zhì)形態(tài)的社會(huì)存在”。審美文化作為一個(gè)民族文化的表達(dá)方式之一,必然受該民族特定時(shí)代的生產(chǎn)方式、生活方式、信仰方式、思維方式等諸多因素的共同影響,對嫦娥形象的審美文化闡釋正是在這些因素共同作用下的結(jié)果。本文從貫穿了先秦至今的諸多藝術(shù)形式的嫦娥形象出發(fā),根據(jù)審美視角和文化背景的不同需求,探究嫦娥形象在不同歷史時(shí)期體現(xiàn)出的豐富的審美文化內(nèi)涵。 本文除前言和結(jié)語外,主體部分共分三章。 第一章主要從先秦兩漢時(shí)期的文本記錄出發(fā),研究嫦娥奔月活動(dòng)中所蘊(yùn)含的人類歷史活動(dòng)的審美化體現(xiàn)。論文首先從人類面對死亡的恐懼與平衡這種恐懼所進(jìn)行的審美化理解來闡釋嫦娥奔月;其次從種族的延續(xù)角度來解釋人類在意識(shí)到婦女在人類自身生產(chǎn)中的作用時(shí)賦予嫦娥奔月的文化意義,從中發(fā)現(xiàn)嫦娥奔月中所蘊(yùn)含的母性崇拜的審美文化意識(shí);再次從人類社會(huì)發(fā)展到較高的文明階段時(shí),嫦娥奔月作為反抗父權(quán)制的審美化解放運(yùn)動(dòng),在神話向仙話的轉(zhuǎn)變中嫦娥成為寄予審美理想的女性形象。 第二章主要從唐宋元明清時(shí)的詩歌和小說角度闡釋嫦娥奔月由神話到仙話的轉(zhuǎn)變,展現(xiàn)出在時(shí)代變遷中人們審美意識(shí)的增強(qiáng)和政治教化意義的減弱。首先,嫦娥成為月亮的代稱,成為人世間的美好感情與美好事物的象征,吟詩弄月成為文人墨客審美化生活的重要組成部分,同時(shí)中秋節(jié)成為民間重要的傳統(tǒng)節(jié)日、蟾宮折桂成為士子不懈追求的目標(biāo),這都為嫦娥賦予了更豐富的文化內(nèi)涵;其次在小說中,嫦娥形象則因“奔月”成為追求獨(dú)立、自由的女性象征,貼合了世俗化的審美特征,符合了市民階層的審美心理和審美趣味。 第三章則主要研究近現(xiàn)代以來關(guān)于嫦娥的種種藝術(shù)表現(xiàn)形式中透露出來的更為開放與多元的審美接受狀況及其內(nèi)涵水平。嫦娥形象通過京劇、舞劇、小說、電視劇等傳統(tǒng)與現(xiàn)代的表現(xiàn)方式與手段展現(xiàn)了多姿多彩的審美演繹。現(xiàn)當(dāng)代劇作家結(jié)合時(shí)下觀眾的審美趣味和思維方式,將嫦娥形象以多元化的審美角度展現(xiàn)于觀眾和讀者面前。男權(quán)社會(huì)統(tǒng)治力的逐漸衰落,女性經(jīng)濟(jì)地位和社會(huì)地位的悄然上升,女性在愛情、親情、婚姻中的審美化思考賦予了嫦娥新的時(shí)代氣息和文化色彩。
[Abstract]:Chang'e appears in the mythology, legend, poem, novel, opera, dance, sculpture, film and television and so on. It is a aesthetic culture of Chinese female image in the process of historical development. A woman's aesthetic interpretation of love and the role given to her marriage is in contrast to Nu WA's artistic image. The research and exploration of Chang'e image can not be separated from the specific background of Chinese aesthetic culture, and define culture from the aesthetic level. Culture refers to the "social existence of an immaterial form". As one of the expressions of a national culture, aesthetic culture is bound to be subjected to the mode of production, the way of life and the way of belief in the particular period of the nation. The common influence of many factors, such as mode of thinking, is the result of the aesthetic cultural interpretation of the image of Chang'e. This article starts from the image of Chang'e, which runs through many artistic forms in the pre-Qin Dynasty and now, According to the different demands of aesthetic perspective and cultural background, this paper probes into the rich aesthetic cultural connotation of Chang'e image in different historical periods. In addition to the preface and conclusion, the main part is divided into three chapters. The first chapter mainly starts from the text records of the pre-Qin and Han dynasties. This paper studies the aesthetic embodiment of the historical activities of human beings contained in Chang'e 's activities of running the moon. Firstly, the thesis explains the beauty of Chang'e 's running on the moon from the aesthetic understanding of the fear of facing death and the fear of balance. Secondly, it explains the cultural significance of Chang'e running to the moon when human beings realize the role of women in human production from the perspective of race continuity, and finds out the aesthetic cultural consciousness of maternal worship contained in Chang'e 's running on the moon. Once again from the human society to a higher stage of civilization Chang'e ran to the moon as a movement to resist patriarchal aestheticization and liberation. Chang'e became a female image with aesthetic ideals in the transformation of mythology to fairy language. The second chapter mainly from the Tang, Song, Yuan, Ming and Qing dynasties poetry and novel angle explains Chang'e to run the moon from the mythology to the fairy language transformation, has displayed the enhancement of people's aesthetic consciousness and the weakening of the political enlightenment in the change of the times. First of all, Chang'e became the name of the moon, the symbol of the beautiful feelings and beautiful things in the world, and the singing of poems and the moon became an important part of the aesthetic life of the literati, and the Mid-Autumn Festival became an important traditional folk festival. In the novel, Chang'e 's image becomes the symbol of the pursuit of independence and freedom, which is the symbol of the pursuit of independence and freedom, which accords with the aesthetic characteristics of secularization, and is endowed with a richer cultural connotation for Chang'e; second, in the novel, Chang'e 's image becomes a symbol of the pursuit of independence and freedom. It accords with the aesthetic psychology and taste of the citizen class. The third chapter mainly studies the more open and pluralistic aesthetic acceptance and its connotation level revealed in the various artistic forms of Chang'e since modern times. The traditional and modern ways and means of expression, such as TV dramas, show a variety of aesthetic deductions. Modern and contemporary playwrights combine the aesthetic taste and thinking mode of the audience. The image of Chang'e is displayed in front of the audience and readers from a diversified aesthetic point of view. The dominant power of the patriarchal society gradually declines, the economic and social status of women rise quietly, and women are in love and kinship. The aesthetic thinking in marriage endows Chang'e with a new flavor of the times and culture.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：I01

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