【摘要】： 自二十世紀(jì)末以來,文學(xué)與藝術(shù)呈現(xiàn)多元化的發(fā)展趨勢(shì),在追隨時(shí)代變遷的影響下,審美主體的人開始對(duì)自身存在的追問、認(rèn)識(shí)以及對(duì)人類生存狀態(tài)的關(guān)注比以前更加深入,細(xì)致,并期望在人的隱蔽的潛意識(shí)中挖掘丑的荒原地。因此,對(duì)丑的藝術(shù)的審視在不同的領(lǐng)域和思維角度盛行起來,尤其從感性心理學(xué)角度的切入,直線窺視人作為類存在的精神荒蕪,直面人作為類存在對(duì)人性原始本能的透視,更易深入挖掘人性中脆弱和隱秘的空間,可以深刻地揭示現(xiàn)代審丑迫切的精神和心理需求。 本文共分三部分。 在第一部分,本文著力追溯西方審美歷史中對(duì)“美”的崇尚和對(duì)“丑”的拋棄和規(guī)避,然而丑的滲透知識(shí)用來襯托美的光輝,成為藝術(shù)活動(dòng)的附屬品,不論是美丑依存還是美丑轉(zhuǎn)化的觀念,“丑”的問題實(shí)際上被社會(huì)和研究領(lǐng)域所否定。直至波德萊爾的《惡之花》的問世,丑才成為一個(gè)獨(dú)立的美學(xué)范疇登上了藝術(shù)舞臺(tái),并隨西方社會(huì)的發(fā)展和人文感性學(xué)的關(guān)注滲透于文學(xué)、繪畫等各個(gè)藝術(shù)領(lǐng)域。丑開始大行其道。 在第二部分,本文認(rèn)為,丑是真實(shí)折射社會(huì)顏容的一面鏡子,比美更真切、實(shí)在。具有社會(huì)屬性的丑之所以能夠在近代審美史上發(fā)生令人驚奇的質(zhì)的轉(zhuǎn)變和超越是有其內(nèi)在成熟和發(fā)展的多方面因素的。人性的感性多元認(rèn)識(shí),不同時(shí)代下受眾心理結(jié)構(gòu)的差異對(duì)人性意識(shí)的潛移默化向我們展示了一幅逼真的“審丑圖”。人類源于獸性的情感涌動(dòng)喚醒了昔日被麻痹的所謂的“精神領(lǐng)域”。人類難堪的欲望鋪天蓋地、昭然若示,如此快感由中而生,非理性的性涌動(dòng)盤旋式的在不斷上升起來。 在第三部分,“異己”的“性格”力量塑造了源源不斷的新形象沖擊著我們的視線,這股似強(qiáng)流般的視覺沖擊力以勇敢的姿態(tài)超越了唯美而不斷的上升趨勢(shì),在這個(gè)飽受理性和文明凈化的國度里,向我們展示了蠢蠢欲動(dòng)的人類世界深處即將要進(jìn)發(fā)出的,并最能展現(xiàn)人性色彩的東西�！八笔乔逑�是濁泥?或許在人性領(lǐng)域再也沒有完美的界限將它們分離,“存在即是真理”亦是意蘊(yùn)世界自由充分的表達(dá),人類也就由審美的必然王國進(jìn)入自由王國,一切復(fù)歸人性的平和。人類花樣翻新,審美出丑,審丑出美,到頭來還是發(fā)現(xiàn)孫悟空未跳出如來佛的手掌心。
[Abstract]:Since the end of the twentieth century, literature and art have shown a diversified trend of development. Under the influence of the changes of the times, the aesthetic subjects began to question their own existence, understand and pay more attention to the existence of human beings than ever before. Meticulous, and looking forward to excavating ugly wasteland in man's hidden subconscious. Therefore, the examination of ugly art prevails in different fields and thinking angles, especially from the perspective of perceptual psychology, to look straight at the spiritual desolation of human being as a kind of existence, and to face the perspective of primitive instinct of human nature as a kind of existence. It is easier to dig into the fragile and secret space of human nature, which can deeply reveal the urgent spiritual and psychological needs of modern ugliness. This paper is divided into three parts. In the first part, this paper focuses on tracing back to the Western aesthetic history of "beauty" worship and "ugliness" abandoned and evaded, however, ugly infiltration knowledge used to set off the beauty of the glory, as an accessory to art activities. Whether it is the dependence of beauty or ugliness or the transformation of beauty and ugliness, the problem of ugliness is actually denied by society and the field of research. Until the emergence of Baudelaire's the Flower of Evil, ugliness became an independent aesthetic category on the art stage, and permeated into literature, painting and other art fields with the development of western society and the concern of humanism and sensibility. Ugliness began to prevail. In the second part, the author thinks that ugliness is a mirror that reflects the appearance of society, which is more true and real than beauty. The reason why the ugliness with social attributes can take place in the modern aesthetic history of amazing qualitative transformation and transcendence is its inherent maturity and development of many factors. The perceptual multi-cognition of human nature and the subtle influence of the difference of audience's psychological structure on human consciousness in different times show us a realistic "ugliness picture". Human emotions from animal origin awaken the so-called "spiritual realm", which was paralyzed in the past. The desire for human embarrassment is so exasperating that it is evident that such pleasure arises from the middle, and irrational sexual surges are on the rise. In the third part, the "character" force of "dissent" has shaped a constant stream of new images to impact our sight, this strong current-like visual impact with a brave posture beyond the aesthetic and continuous upward trend. In a country that is purified by reason and civilization, it shows us what is about to come out of the depths of the human world, and what is most capable of showing humanity. Is it Qingxi or muddy mud? Perhaps there is no perfect boundary in the field of human nature to separate them, "being is the truth" is also a free and full expression of the world, human beings from the aesthetic kingdom of necessity into the free kingdom, all return to the peace of human nature. Human style renovation, aesthetic ugliness, ugliness out of beauty, or found that Sun Wukong did not jump out of the palm of Buddha.
【學(xué)位授予單位】：西北大學(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4條

1 鐘芳倩;新時(shí)期女性小說審丑現(xiàn)象研究[D];湖南科技大學(xué);2011年

2 遲洪燕;“丑”態(tài)凸顯[D];華中師范大學(xué);2012年

3 李冰雪;現(xiàn)代性語境下審丑問題研究[D];陜西師范大學(xué);2012年

4 劉妍雪;《紅樓夢(mèng)》審丑藝術(shù)研究[D];青海師范大學(xué);2012年

，

本文編號(hào)：2471936