本文選題：文化背景　切入點(diǎn)：情　出處：《江西師范大學(xué)》2009年碩士論文

【摘要】： 本文立足于中國(guó)文化背景,從思想層面的移情理論入手,討論中國(guó)審美移情理論產(chǎn)生的語(yǔ)境。論文系統(tǒng)論述了藝術(shù)移情、山水移情和文學(xué)接受中的移情三方面的審美移情理論,并對(duì)中西審美移情理論做了比較。藝術(shù)移情探討的是中國(guó)古代音樂移情和繪畫和書法移情理論,論及移情在各種音樂活動(dòng)中的表現(xiàn)、音樂移情發(fā)生的主客觀條件、音樂移情的作用、以及音樂移情與頓悟之關(guān)系,繪畫和書法移情主要從審美欣賞角度論述繪畫移情發(fā)生時(shí)的狀態(tài)。山水移情理論述了移情山水的類型、山水移情與歸隱、比德、以及文學(xué)創(chuàng)作的關(guān)系。文學(xué)接受中的移情理論論及文學(xué)接受移情發(fā)生時(shí)的心理狀態(tài)和移情發(fā)生的條件兩方面。中西審美移情理論有相通之處,又存在著較大差異。中西審美移情理論相通之處是二者對(duì)移情發(fā)生時(shí)審美主體的心理狀態(tài)的描述,差異體現(xiàn)在二者的研究?jī)A向、研究對(duì)象、內(nèi)涵以及文化背景方面。本文得出結(jié)論:中國(guó)不僅有“移情”概念,而且有自己文化背景下的審美移情理論;中國(guó)審美移情理論很早出現(xiàn),有著廣泛的研究領(lǐng)域和豐富、獨(dú)特的移情內(nèi)涵,強(qiáng)調(diào)審美主體的情感體驗(yàn)。中國(guó)審美移情理論中的移情有西方審美移情理論中的感情轉(zhuǎn)移之意,但這種轉(zhuǎn)移是感情在審美主體和審美對(duì)象之間的雙向流動(dòng),物之美激發(fā)人之情,人又把被物激發(fā)出的感情投入到物中,達(dá)到物我同一的境界;中國(guó)審美移情理論中的移情又有移易人的情志之意,帶有較強(qiáng)的中國(guó)儒家文化的教化意味。
[Abstract]:Based on the background of Chinese culture, this paper discusses the context of Chinese aesthetic empathy theory from the perspective of empathy theory. The thesis systematically discusses the aesthetic empathy theory in three aspects: artistic empathy, landscape empathy and literary empathy. It also compares the theory of aesthetic empathy between China and the West. The art empathy discusses the ancient Chinese musical empathy, painting and calligraphy empathy theory, discusses the expression of empathy in various musical activities, the subjective and objective conditions of musical empathy. The role of musical empathy, and the relationship between musical empathy and epiphany, painting and calligraphy empathy mainly from the perspective of aesthetic appreciation of the state of painting empathy. And the relationship between literary creation and literary creation. The empathy theory in literary acceptance deals with the psychological state and the conditions under which empathy occurs in literary acceptance. There are similarities between Chinese and Western aesthetic empathy theories. The similarities between Chinese and Western aesthetic empathy theories are the description of the psychological state of the aesthetic subject when empathy occurs, and the difference is reflected in their research tendency and research object. In terms of connotation and cultural background, this paper draws a conclusion that China not only has the concept of empathy, but also has its own theory of aesthetic empathy under its own cultural background. The unique connotation of empathy emphasizes the emotional experience of the aesthetic subject. The empathy in the Chinese aesthetic empathy theory has the meaning of the emotion transfer in the western aesthetic empathy theory, but this transfer is the two-way flow of the emotion between the aesthetic subject and the aesthetic object. The beauty of things inspires the feelings of people, and people put the feelings inspired by things into things to achieve the same state of things and I; the empathy in the theory of Chinese aesthetic empathy has the meaning of changing people's feelings, with the strong enlightenment of Chinese Confucian culture.
【學(xué)位授予單位】：江西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2009
【分類號(hào)】：I01

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 陳亞琦;手辦玩偶的移情設(shè)計(jì)[D];華中師范大學(xué);2013年

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本文編號(hào)：1653389