本文選題：陌生化　切入點：現(xiàn)代藝術(shù)　出處：《華中師范大學》2005年碩士論文　論文類型：學位論文

【摘要】：奇特化,反常化是現(xiàn)代人認識世界的特殊方法,也認識是現(xiàn)代人的基本切入點。而這種追求個性,追求對慣常生活的違反,表現(xiàn)在藝術(shù)里就是刻意地追求創(chuàng)新,與陌生化思路有著根本上的一致性。只是在生活里陌生化的追求表現(xiàn)為個性與另類,而在藝術(shù)里,陌生化體現(xiàn)為藝術(shù)的觀念和方法。 一個不可否認的事實是,在藝術(shù)里面,無論過去還是現(xiàn)在,陌生化一直是作為一種藝術(shù)的思維方式存在的。它潛伏在我們創(chuàng)作與欣賞的每個角落,但我們未必意識到它的存在。近來,這種藝術(shù)思維在現(xiàn)代派文藝那里得到了多方面得張揚�，F(xiàn)代派文藝中所表現(xiàn)的主題,人物,題材等都是對傳統(tǒng)的反叛,從某種意義上說現(xiàn)代派文藝本身就是陌生化。現(xiàn)代派文藝和陌生化都是不理會藝術(shù)法則和既有成規(guī),努力尋找或探索藝術(shù)表達可能性的嘗試,只是現(xiàn)代派文藝是將陌生化發(fā)揮到極致甚至將這種藝術(shù)理念強調(diào)到不適當程度的表現(xiàn)。它們主要從三個層面深化了陌生化的藝術(shù)思維:作為一種言說策略,作為一種藝術(shù)手段和作為一種審美體驗。經(jīng)過現(xiàn)代派文藝對陌生化有意無意地發(fā)現(xiàn)和運用,使陌生化作為一種藝術(shù)理念成了現(xiàn)代藝術(shù)的突出特征。 雖然對于陌生化方法的運用是古已有之的藝術(shù)現(xiàn)象,但事實表明,前人有陌生化的方法卻沒有陌生化的理念。正是現(xiàn)代派文藝對藝術(shù)創(chuàng)新的刻意與執(zhí)著,使我們對陌生化的無意識遵循上升為一種有意識的追求,從而使陌生化思維作為一種藝術(shù)理念凸現(xiàn)出來�，F(xiàn)代派文藝的藝術(shù)實踐至少表明以下兩點:一是,向我們明確了一個顯而易見的問題即藝術(shù)只有不斷地陌生化才能獲得持久的生命力;二是,經(jīng)過現(xiàn)代派文藝的藝術(shù)發(fā)揮,陌生化作為藝術(shù)的內(nèi)在屬性,已經(jīng)成為現(xiàn)代藝術(shù)的基本特征。 本文將主要圍繞現(xiàn)代派文藝中的陌生化表現(xiàn)這一核心問題展開討論,并由此來探討文藝理論中基本命題的建設(shè)問題。
[Abstract]:Strangeness is a special way for modern people to understand the world, and cognition is also a basic entry point for modern people. And this pursuit of individuality, the pursuit of violation of habitual life, is manifested in art as a deliberate pursuit of innovation. The pursuit of defamiliarization in life is characterized by individuality and heterogeneity, while in art, defamiliarization is embodied in the concept and method of art. It is an undeniable fact that in art, past and present, strangeness has always existed as an artistic way of thinking. It lurks in every corner of our creation and appreciation. But we may not be aware of its existence. Recently, this kind of artistic thinking has gained publicity in many ways in modernist literature and art. The themes, characters, themes, etc. of modernist literature and art are all rebellious against tradition. In a sense, modernist literature and art itself are defamiliarization. Modernist literature and art and defamiliarization are attempts to find or explore the possibility of artistic expression regardless of the art rules and established rules. It is only that modernist literature and art is a manifestation of bringing strangeness to its maximum and even emphasizing this artistic concept to an inappropriate degree. They mainly deepen the defamiliarization artistic thinking from three levels: as a kind of speech strategy, As an artistic means and as an aesthetic experience, strangeness has become a prominent feature of modern art through the intentional and unintentional discovery and application of modernist literature and art to strangeness as an artistic concept. Although the application of defamiliarization method is an ancient art phenomenon, the fact shows that there is no defamiliarization idea in forefathers. It is the intention and persistence of modernist literature and art to create art. So that we follow the unconsciousness of defamiliarization into a conscious pursuit, so that defamiliarization thinking as an artistic concept highlights. The art practice of modernist literature and art shows at least the following two points: first, It has made clear to us the obvious problem that art can gain lasting vitality only if it is constantly defamiliarized. Second, through the art of modernist literature and art, strangeness is the intrinsic attribute of art. It has become a basic feature of modern art. This paper will mainly discuss the core problem of strangeness in modernist literature and art, and discuss the construction of basic propositions in literary and art theory.
【學位授予單位】：華中師范大學
【學位級別】：碩士
【學位授予年份】：2005
【分類號】：J01

【引證文獻】

相關(guān)碩士學位論文 前4條

1 陳小琴;當代花鳥畫圖式“陌生化”研究[D];西南大學;2008年

2 楊云云;論布萊希特“間離化”理論下的現(xiàn)代舞臺藝術(shù)[D];山東師范大學;2010年

3 秦苗;攝影藝術(shù)創(chuàng)作的“陌生化”探究[D];上海師范大學;2012年

4 郭曉卉;論當代語境下藝術(shù)創(chuàng)作中的“虛”及其價值[D];西南大學;2013年

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本文編號：1573679