本文關(guān)鍵詞： 文學(xué)創(chuàng)作 審美 發(fā)生 機(jī)制 研究　出處：《曲阜師范大學(xué)》2003年碩士論文　論文類型：學(xué)位論文

【摘要】： 從根本上說，文學(xué)創(chuàng)作是一種審美活動(dòng)的結(jié)晶。文學(xué)創(chuàng)作與審美機(jī)制從發(fā)生學(xué)的角度看有著血肉聯(lián)系，審美活動(dòng)作為掌握世界的一種獨(dú)特方式的產(chǎn)生是文學(xué)創(chuàng)作得以發(fā)生的前提。審美活動(dòng)的自發(fā)傾向和本能趨勢(shì)自然而然地促使著、催化著文學(xué)創(chuàng)作的發(fā)生和進(jìn)行。而文學(xué)創(chuàng)作也必然成為審美活動(dòng)的主要場(chǎng)地。任何一次真正的創(chuàng)作都是一次美的追溯、美的回憶和美的追求。研究文學(xué)創(chuàng)作與審美發(fā)生的問題，即文學(xué)創(chuàng)作的審美發(fā)生機(jī)制，目的在于探討在什么條件下，出于什么原因，通過什么方式一般事物就變成了作家的審美對(duì)象，自然狀態(tài)的情感轉(zhuǎn)化為審美情感，激發(fā)出作家強(qiáng)烈的創(chuàng)作欲望。本文針對(duì)創(chuàng)作主體，擬從發(fā)生學(xué)入手，結(jié)合審美心理因素(審美心理定勢(shì)、創(chuàng)作動(dòng)機(jī))，運(yùn)用動(dòng)態(tài)的研究方法，用生成的觀點(diǎn)審視文學(xué)創(chuàng)作現(xiàn)象，從它的瞬間性、運(yùn)動(dòng)性、流變性，交錯(cuò)性、多面性、動(dòng)力原則和內(nèi)在生命去把握這一復(fù)雜過程，希冀在歷史梳理與邏輯建構(gòu)中推演出較具普遍性的結(jié)論，揭示文學(xué)創(chuàng)作的美學(xué)規(guī)律。 一、文學(xué)創(chuàng)作與審美發(fā)生的瞬間合成及歷時(shí)生成性 辯證唯物主義認(rèn)為文學(xué)創(chuàng)作與審美發(fā)生是理性與非理性的結(jié)合。也就是文學(xué)創(chuàng)作與審美發(fā)生其藝術(shù)表現(xiàn)為瞬間性，是瞬間合成，心理準(zhǔn)備卻是基于長期的歷史積淀，足歷時(shí)生成的。 (一)文學(xué)創(chuàng)作與審美發(fā)生的非理性因素即瞬間合成性。文學(xué)創(chuàng)作與審美發(fā)生有著瞬間性、突發(fā)性，隨機(jī)性的特征。文學(xué)創(chuàng)作與審美的發(fā)生并不是憑空而來的，它的來臨往往有某個(gè)事件作為觸因。只有當(dāng)外界刺激與大腦的思索達(dá)到某種“耦合”時(shí)，才能導(dǎo)致創(chuàng)作發(fā)生。 (二)文學(xué)創(chuàng)作與審美發(fā)生的理性因素即歷時(shí)生成性。文學(xué)創(chuàng)作與審美發(fā)生往往是突發(fā)的，事先難以預(yù)料的，仿佛是憑空產(chǎn)生的，沒有任何準(zhǔn)備。但是，細(xì)究起來，我們不難發(fā)現(xiàn)，文學(xué)創(chuàng)作與審美的發(fā)生是源于創(chuàng)作主體長期積累，反復(fù)實(shí)踐，，艱苦探求的結(jié)果，在偶然中存在著必然，是受理智控制的。 （三）誘發(fā)文學(xué)創(chuàng)作與審美發(fā)生的方法。這些方法包括厚積薄發(fā) 法、環(huán)境心境法、虛靜法、開發(fā)夢(mèng)境中的無意識(shí)活動(dòng)法、擱置放松法、 刺激誘導(dǎo)法等。 二、文學(xué)創(chuàng)作與審美發(fā)生的“幕后導(dǎo)演”——審美心理定勢(shì) 審美心理定勢(shì)是創(chuàng)作主體。C理結(jié)構(gòu)的組成部分。在文學(xué)創(chuàng)作活動(dòng) 中，它是引發(fā)創(chuàng)作動(dòng)機(jī)、產(chǎn)生創(chuàng)作沖動(dòng)的直接動(dòng)力。其潛能一旦激發(fā)， 便會(huì)化作巨大的精神動(dòng)力和心理能量�？梢哉f；從作家對(duì)生活的感知 到形象的捕捉，主題的提煉，藝術(shù)的構(gòu)思，每一步。。理定勢(shì)都在或明 或暗地起著作用。它好像一個(gè)幕后操縱者，在暗地里制約著作家的創(chuàng) 作。 （一）審美心理定勢(shì)形成的原困。文學(xué)創(chuàng)作發(fā)生的審美心理定勢(shì) 形成的原困是復(fù)雜的，多方面的�？梢詺w納為兩大困素，一種為前審 美因素，另一種為現(xiàn)審美固素。 （二）審美。C理定勢(shì)是個(gè)性與共性的統(tǒng)一。審美心理定勢(shì)的個(gè)性 與共性之間既相互排斥又相互吸引，是辯證統(tǒng)一的。個(gè)體在實(shí)踐中形 成的審美心理結(jié)構(gòu)的個(gè)性特征充實(shí)、發(fā)展了群體審美心理結(jié)構(gòu)的共性 特征，人類集體在長期審美實(shí)踐中所形成的共性是個(gè)性的基礎(chǔ)。 （三）審美。。理定勢(shì)的正面效應(yīng)。審美。。理定勢(shì)一旦形成，便在 創(chuàng)作者的心理和思維活動(dòng)中起著重要的導(dǎo)向和預(yù)備作用，對(duì)文學(xué)創(chuàng)作 與審美發(fā)生有著積極意義。這種作用主要表現(xiàn)在以下幾個(gè)方面：創(chuàng)作 主體先前的經(jīng)驗(yàn)，尤其是童年時(shí)期的經(jīng)驗(yàn)；作家對(duì)社會(huì)生活的獨(dú)特的 審美感知；審美表象分解、化合成審美意象；高度激發(fā)狀態(tài)的心理場(chǎng) 的形成；職業(yè)敏感的養(yǎng)成等。 （四）審美心理定勢(shì)的負(fù)面效應(yīng)。審美心理定勢(shì)影響文學(xué)創(chuàng)作對(duì) 客觀事物本質(zhì)和規(guī)律的反映，審美。。理定勢(shì)的負(fù)面效應(yīng)致使作家思路 阻塞，缺乏創(chuàng)新性、靈活性。 （五）文學(xué)創(chuàng)作與審美發(fā)生有賴于不斷優(yōu)化審美。C理結(jié)構(gòu)，達(dá)到 審美超越。作家只有敢于排除傳統(tǒng)偏見與習(xí)慣的影響，不斷自覺地在 審美實(shí)踐中克服定勢(shì)的負(fù)面效應(yīng)，才能夠不斷地發(fā)現(xiàn)新美，創(chuàng)造新美。 2 ．廠廠 — — 作家主體只有在“同化”、“順應(yīng)”的心理基礎(chǔ)上，才能展開高效的創(chuàng) 作思維活動(dòng)，達(dá)到審美超越，產(chǎn)生美感。 三、文學(xué)創(chuàng)作發(fā)生的激活狀態(tài)一一創(chuàng)作動(dòng)機(jī) 動(dòng)機(jī)是文學(xué)創(chuàng)作與審美發(fā)生的激活狀態(tài)，是溝通并促使刺激信息 與反應(yīng)信息二者之間產(chǎn)生雙向交流和反饋運(yùn)動(dòng)所必不可少的內(nèi)部環(huán) 節(jié)。 （一）創(chuàng)作動(dòng)機(jī)產(chǎn)生的條件。內(nèi)驅(qū)力和張力是文學(xué)創(chuàng)作動(dòng)機(jī)發(fā)生 的心理基礎(chǔ)，審美個(gè)性心理結(jié)構(gòu)是文學(xué)創(chuàng)作發(fā)生的
[Abstract]:Fundamentally speaking, literary creation is the crystallization of a kind of aesthetic activity. Literary creation and aesthetic mechanism from the point of view there is a close relation between aesthetic activities, as a peculiar way to master the world's literary creation is a prerequisite to happen. The spontaneous tendency and aesthetic tendency to naturally instinct the catalytic, literary creation and literary creation. And will become the main field of aesthetic activity. Any real creation is a beautiful back, beautiful memories and pursuit. The research of literary creation and the hairdressing health problem, namely the aesthetic mechanism of literary creation, the purpose is to discuss the in what conditions, for what reason, through what way things become the aesthetic object of the writer, the emotional state of nature into the aesthetic emotion, inspire the writer strong creative desire Look. According to the subject of creation, intends to learn from the occurrence of the combination of the aesthetic psychological factors (aesthetic mentality, creative motivation), by using the method of dynamic, examines the literary creation phenomenon with the generated point of view, from the moment of its movement, rheology, interleaving, versatility, dynamic principle and inner life to grasp this complex process, hoping to push the performance of more general conclusion in history and logic construction, reveal the aesthetic rules of literary creation.
First, the instantaneous synthesis and diachronic creation of literary creation and aesthetic
Dialectical materialism holds that the emergence of literary creation and aesthetic is the combination of reason and non rationality. That is to say, literary creation and aesthetics happen instantaneously, which is instantaneous synthesis, but psychological preparation is generated on the basis of long-term historical accumulation and duration.
(a) literary creativity and aesthetic appreciation of the irrational factor. The instant synthesis of literary creativity and aesthetic appreciation is instantaneous, sudden, random character. Literary creation and aesthetic and not come out of thin air, it is often an event as a trigger for only when thinking. External stimulus and brain to a certain kind of combination, can lead to the creation.
(two) the literary creation and aesthetic rational factors: diachronic generative. Literary creativity and aesthetic appreciation is often sudden, as if the advance is created, There's no telling, and without any preparation. However, if it is not difficult to find, literary creation and aesthetic is derived from the creation of the main long-term accumulation repeated practice, the result of hard research, by chance there is certainty, is the rational control.
(three) induced by literary creativity and aesthetic appreciation method. These methods include accumulate steadily
The method, the environment mood method, the virtual static method, the development of the unconscious activity method in the dream, the relaxation method,
Stimulation induction method, etc.
Two, the "behind the curtain director" in literary creation and aesthetic appreciation of the aesthetic psychology
The aesthetic psychological setting is an integral part of the.C structure of the creative subject. In the literary creation activities
In this way, it is a direct motive for creating a creative motive and creating a creative impulse.
It will turn into great spiritual power and mental energy. It can be said from the writer's perception of life.
To the capture of the image, the refinement of the theme, the conception of the art, every step..
Or acting in the dark. It seems to be a backstage manipulator, in the dark that restricts the creation of a writer.
.
(1) the original difficulty of the formation of the aesthetic psychological setting. The aesthetic psychological setting of the occurrence of literary creation
The reason is complex and various. Can be divided into two factors, one for trial
The other is the beauty of beauty.
(two) the aesthetic.C rationale is the unity of individuality and commonness. The personality of aesthetic psychology
It is dialectical and unified. The individual is in the form of practice.
The personality characteristics of the aesthetic psychological structure have been enriched, and the commonness of the group aesthetic psychological structure has been developed.
Characteristics, the commonality formed by the human collective in the long-term aesthetic practice is the basis of personality.
(three) the positive effect of aesthetics.. aesthetic..
The author's psychological and thinking activities play an important role in guiding and preparing for literary creation.
It has a positive significance to the occurrence of aesthetics. This effect is mainly manifested in the following aspects: Creation
The previous experience of the subject, especially the childhood experience; the writer's unique social life.
Aesthetic perception; the decomposition of aesthetic representation, the synthesis of aesthetic imagery; the psychological field of highly motivated state
The formation of a profession; a professional cultivation, etc.
(four) the negative effect of the aesthetic psychological setting. The aesthetic psychological setting influences the literary creation
The reflection of the essence and law of objective things, the negative effect of aesthetics.. the writer's thought
Obstruction, lack of creativity, flexibility.
(five) the occurrence of literary creation and aesthetics depends on the continuous optimization of the aesthetic.C structure.
Aesthetic transcendence. Only the writer has the courage to exclude the influence of traditional prejudice and habit, and constantly consciously in
To overcome the negative effects of stereotype aesthetic practice, to be able to continue to find new, create new.
Two
Factory factory
--
Only on the basis of the psychological basis of "assimilation" and "adaptation", the writer's subject can be carried out efficiently.
As a thinking activity, aesthetic transcendence is achieved and aesthetic feeling is produced.
Three, the activation state of literary creation, one by one, the motive of creation
Motivation is the active state of literary creation and aesthetic, communication and stimulating information
An internal ring that is essential for the movement of two-way communication and feedback between the two of the response information
Festival.
(1) conditions produced by creative motivation. Internal drive and tension are the motive of literary creation
The psychological basis and the psychological structure of the aesthetic personality are the occurrence of literary creation

【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類號(hào)】：I04

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 楊巍;從接受美學(xué)看《五號(hào)屠場(chǎng)》中的黑色幽默[D];黑龍江大學(xué);2011年

2 閻秀媛;中國短信文化探究[D];牡丹江師范學(xué)院;2010年

本文編號(hào)：1519372