本文選題：接受美學(xué)　切入點：視野　出處：《山東大學(xué)》2005年碩士論文　論文類型：學(xué)位論文

【摘要】：接受美學(xué)是一個重要的美學(xué)的流派,繼以作家、作品為中心的文藝研究理論之后,它將關(guān)注的目光集中于讀者這一重要因素之上,開創(chuàng)了文藝研究的新一維因素。本文通過對接受美學(xué)理論地簡要研究與闡發(fā),開掘這一理論的現(xiàn)實價值,分析接受美學(xué)在文藝解讀中的重要意義,以指導(dǎo)當(dāng)代的創(chuàng)作與欣賞。 本文共分為三章。第一章簡單地回顧一下接受美學(xué)的產(chǎn)生與發(fā)展過程,分析接受美學(xué)與文藝解讀的關(guān)系。接受美學(xué)是在本文中心論的研究模式落入形式主義的、自我封閉的怪圈后所進行的突破。它推崇讀者這一原來一直被忽略的因素,重視讀者在文藝活動中的地位;注意研究讀者的審美經(jīng)驗及其他基本條件:接受美學(xué)還十分關(guān)注文學(xué)史的研究,提出了接受的文學(xué)史觀。接受美學(xué)對于讀者的推崇,對讀者審美經(jīng)驗的重視,與文藝解讀中充分發(fā)揮讀者主動性的追求是一致的,對讀者的文藝解讀起到了積極的指導(dǎo)意義。 第二章是本文的核心,重點分析接受美學(xué)視野中文藝解讀的方式。圍繞此問題,本文根據(jù)文藝解讀中介的不同分別對文字解讀與圖像解讀進行了探討與分析。文字解讀的方式是一種傳統(tǒng)的接受手段,憑借文字手段,作家可以以顯性或隱性的手段傳達自己對于社會和生活的理解與認(rèn)識,讀者可以對作家與作品進行解讀與接受。在閱讀的過程中,讀者的理解與作者的原意可能是相重合的,但在更多的情況下卻往往是有著差距的。重合的情況可稱之為“正解”,不相符的情況則稱為“曲解”,或稱“誤讀”。“誤讀”的現(xiàn)象在文學(xué)的解讀中是常見的,而且也是我們積極提倡的。讀者的理解與作者的原意不相符的情況的出現(xiàn),其原因是多種多樣的,如作品客觀的多義性、讀者主觀經(jīng)驗的差異性、時代價值觀的不同都可能導(dǎo)致“誤讀”現(xiàn)象的發(fā)生。這種對作品的“曲解”,可以完善與豐富作品的潛在信息和審美意蘊;增益作品的再生力,使作品的生命得以生生不息;完善與培育接受者的審美智能結(jié)構(gòu),因而是積極有益的。但同時,這種“誤讀”也很容易陷入到作品價值的虛無狀態(tài),事實上我們同樣也不能排除意義的相對確定值的存在。 山東大學(xué)碩士學(xué)位論文 絕不可以任意超越文本提供的信息,淇視文本對接受者的制約,使閱讀成為絕對 自由的接受活動。圖像解讀的方式是隨著科技的發(fā)展而產(chǎn)生的,它有著與文字解 讀截然不同的特點,影視藝術(shù)的特征主要是通過圖像和音響來創(chuàng)造藝術(shù)形象,而 文學(xué)藝術(shù)的特征主要是通過文學(xué)話語來進行形象描繪,兩者審美特征的差異導(dǎo)致 藝術(shù)表現(xiàn)方式的差異。這就促使影視導(dǎo)演在解讀文學(xué)作品時,主要從文本的文學(xué) 話語里尋找最富于影視藝術(shù)表現(xiàn)力的視覺、聽覺內(nèi)容,再通過神奇莫測的影視攝 像鏡頭,對文學(xué)本文的審美意蘊進行圖像性掃描和闡釋,最終使圖像映現(xiàn)出來的 藝術(shù)內(nèi)容具體明晰化。影視藝術(shù)的解讀方式雖然具有文字解讀無法匹敵的優(yōu)勢, 但是這種方式也具有其致命的弱點.首先,由于影視藝術(shù)受圖像性、直觀性的表 現(xiàn)手法的局限,使其在處理有些含蓄而內(nèi)涵豐富的作品時,顯得力不從心。其次, 圖像的直觀性消解了文本中那些可·以引起受眾思考與想象的“空白”.這也是影視 藝術(shù)在其發(fā)展中需要注愈的事項。 第三章是對接受美學(xué)的歷史性反思。接受美學(xué),’偏向性”地從讀者的視角來 探討文論體系內(nèi)部各要素的關(guān)系,它對作家、作品以及社會環(huán)境等要素研究不夠, 尚未形成一個比較系統(tǒng)的學(xué)科型的理論框架.從總體上說,接受美學(xué)如同20世紀(jì) 其他美學(xué)思潮一樣,回避美的本質(zhì)、藝術(shù)的本質(zhì)等根本問題,而將重心放在藝術(shù) 的具體接受過程特征和心理形態(tài)的揭示,同時接受美學(xué)的開山綱領(lǐng),姚斯的《文 學(xué)史作為向文學(xué)理論的挑戰(zhàn)》盡管強調(diào)了文學(xué)活動總體性過程,但其具體論述中 還是偏重于研究讀者接受過程,而較少論及作品本文的形式和意義以及作家創(chuàng)造 活動及其主導(dǎo)地位,給人一種忽略文學(xué)創(chuàng)作和作品本體研究的印象.當(dāng)然,接受 美學(xué)家們也意識到了這種局限并進行了改造和補充。鑒于接受美學(xué)的積極意義和 局限,在運用接受美學(xué)對文學(xué)、美學(xué)現(xiàn)象、作品進行理解、診釋、接受時,決不 能僅僅從讀者這一維因素出發(fā),而應(yīng)辯證的、全面地、歷史的、發(fā)展的去看待他 們,只有這樣才能較準(zhǔn)確、較科學(xué)、較適應(yīng)現(xiàn)實的去把握我們的客體對象。在文 藝解讀的過程中,我們也應(yīng)全面、動態(tài)的去理解文藝作品. 關(guān)鍵詞:接受美學(xué);視野;文學(xué)解讀
[Abstract]:The aesthetics of reception aesthetics is an important genre, followed by writer, after the theory of literature and art research works as the center, it will pay more attention to the readers of this important factor, creating a new one-dimensional factor. Based on the study of literature and art acceptance and interpretation briefly study the aesthetic theory, the practical value of digging the theory analysis, accepted significance of aesthetics in literary interpretation, in order to guide the contemporary creation and appreciation.
This paper is divided into three chapters. The first chapter is a brief review for the birth and development of aesthetics, aesthetics of reception and analysis of the relationship between literary interpretation. Reception aesthetics into formalism in the research center of the model in this paper, the self closed cycle after the breakthrough. It has been the original worship of readers ignore factors, status of readers in literary activities; pay attention to the research of aesthetic experience of readers and other basic conditions: the study also very concerned about the history of literature aesthetics, the accepted history of literature. The highly praise of readers reception aesthetics to readers, aesthetic experience and literary value, and give full play to the initiative of readers the pursuit is the same, the interpretation of the reader plays a positive guiding significance.
The second chapter is the core of this paper, focuses on the interpretation of literary aesthetics in the perspective of acceptance. Around this problem, according to the interpretation of the different intermediary respectively on text interpretation and image interpretation are discussed and analyzed. The text interpretation is a traditional means of accepting, by means of the characters, the writer can be explicit or implicit the means to convey their thoughts and understanding of society and life, readers can understand and accept the writer and works. In the process of reading, readers' understanding and the author's intention may be coincident, but in more cases often there is disparity. The condition can be called "solve", does not match the situation is called "twist", or "Misreading". "Misreading" is a common phenomenon in the understanding of literature, but also we actively advocated. The reader's understanding and The author is not intended by the situation, the reason is various, such as works of objective ambiguity, differences in the subjective experience of readers, the times of different values may cause a "Misreading" phenomenon. This works on the "twist", can improve the potential information with the abundant works and aesthetic implication regeneration; gain works, make the life of the works to improve the aesthetic structure and intelligent life and growth in nature; cultivate the recipient, it is positive and helpful. But at the same time, this "Misreading" is also very easy to fall into the value of works without virtual state, to determine the relative values in the presence of the fact that we also cannot rule out the significance.
Master's degree thesis of Shandong University
In no way can we transcend the information provided by the text, and Qi considers the restriction of the text to the recipient, making the reading absolute
Free acceptance. The way of image interpretation is produced with the development of science and technology.
The feature of the film art is to create an artistic image mainly through the image and sound.
The main features of literature and art are the image depiction through literary discourse, which leads to the difference of aesthetic characteristics between the two.
The difference in the way of artistic expression makes the film director mainly from the text of literature when reading the literary works.
The words are looking for the most expressive vision, the content of the audiovisual art, and the unfathomable film and television photography.
Like a lens, image scanning and interpretation of the aesthetic connotation of literature, the image reflected
The artistic content is clear and clear. The reading way of film and television art has the advantage of the unmatched text interpretation.
But this way also has its fatal weakness. First, because film and television art is visualized and intuitive
The limitations of the present techniques make it difficult to deal with some subtle and rich works. Secondly,
The intuition of the image dispels the "blank" in the text that can cause the audience to think and think. It is also a film and television.
Art needs to be recovered in its development.
The third chapter is a historical reflection on reception aesthetics. Accepting aesthetics and 'bias' from the reader's perspective
The relationship between the elements of the system of literary theory is discussed, and it is not enough to study the elements of writers, works and social environment.
The theoretical framework of a relatively systematic discipline has not yet been formed. Generally speaking, the reception of aesthetics is like twentieth Century
Like other aesthetic thoughts, the essence of beauty and the essence of art are avoided, and the focus is on art.
The characteristics of the specific acceptance process and the revelation of the psychological form, and the open mountain programme of aesthetics, Yao's <
The history of learning is a challenge to literary theory, although it emphasizes the overall process of literary activity, but in its specific discussion
It is more important to study the process of readers' acceptance, but less on the form and meaning of the work and the creation of the writer.
Activity and its dominant position give the impression of neglecting literary creation and the study of the noumenon of the works.
The aestheologists are also aware of the limitations and are reformed and supplemented. In view of the positive significance of reception aesthetics and
Limitations, in the use of aesthetics of acceptance of literature, aesthetic phenomena, works to understand, interpretation, acceptance, never
It can be viewed only from the reader's one dimension, and should be viewed dialectically, comprehensively, historically, and developed.
Only in this way can we be more accurate, more scientific, and more adaptable to the object of our object.
In the process of art interpretation, we should also fully and dynamically understand literary and artistic works.
Key words: Reception Aesthetics; visual field; literary interpretation

【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】：2005
【分類號】：I01

【引證文獻】

相關(guān)碩士學(xué)位論文 前5條

1 李士軍;費什讀者反應(yīng)批評理論研究[D];黑龍江大學(xué);2011年

2 蔡瑞婷;從闡釋學(xué)角度對接受美學(xué)的再思考[D];曲阜師范大學(xué);2007年

3 梁晶;以《紅樓夢》為例：從互文的角度看改編問題[D];吉林大學(xué);2008年

4 于娟;論文學(xué)接受中的詩性對話[D];牡丹江師范學(xué)院;2010年

5 張康;浦起龍《讀杜心解》闡釋學(xué)研究[D];黑龍江大學(xué);2012年

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本文編號：1580096