中国上古神话思维与审美意识发生

发布时间：2018-05-01 02:14

本文选题：神话 + 中国上古神话思维　；参考：《陕西师范大学》2002年硕士论文

【摘要】： 现代文明在充分满足人们物质需要的同时，却造成人与人、人与世界的疏离，世界在人眼中成为令人感到孤独和绝望的荒原。人类需要回到精神家园，疗治创伤并获得动力。神话是各民族文化的精神家园。研究神话可以追根溯源地梳理和全面把握一个民族在漫长历史时期一脉相承的内在精神及文化气质。神话充满幻想和虚构，它的本质是用夸张、想象的方式来反映一定历史时期的人类社会生活。神话是一个古老民族无法超越的最初心路历程，在世界古代各民族中普遍存在。神话思维最能体现神话的生命力，通过神话思维可以探究文化之根。在各种思维形式中，神话思维与审美思维有着最为密切的关系，原始——神话思维直接孕育了审美意识发生。西方文明受神话影响很深，所以西方学者一直重视研究神话。中国的神话研究起步很晚，百年来中国学者在神话的发掘、整理和阐释方面取得了很大成绩，，但对神话思维的深入研究还很欠缺。本文运用“历史与逻辑相统一的历史优先性原则”为指导方法，通过对《山海经》等典籍中的具体神话作品进行分析来研究中国上古神话思维对审美意识发生的影响。首先，本文从五个方面深入研究中国上古神话思维的基本特征。一、象——中国上古神话思维的意象性特征中国上古神话描写的并非单纯的物象，而是上古先民观念化的产物，即意象。“象”是中国上古神话思维的中介。中国上古神话意象通过语言的具象性表现出来，其语言大都具有象征意义。这些意象是集体意象，是集体无意识的产物。此外，中国上古神意象绝大多数是自然意象。二、情——中国上古神话思维的情感性特征在中国上古神话中，先民通过“自我中心”意识将情感投射、幻化到外物上。并通过巫术活动强化情感表现，丰富了神话内容。可以说中国上古神话以情感为纽带展开思维过程。三、和——中国上古神话思维的混沌性特征 “混沌”体现了无序而又整一的状态。中国上古神话思维表现出一种无序的整合。混沌状态集中体现为“和”，即思维主体与对象的“和”，实相与虚相的“和”，时间与空间的“和”。．四、尘——中国上古神话思维的崇生性特征小m卜，‘；中1。话思外以生命为上题。人现了先民渴望斗命、崇秆生命的山2烈意识。先民将生命观念普遍化，人与自然万物的生命都处于同等地位，他们还强调生命的意义在于生生不息的变化。五、德——一中国上古神话思维的尚德性特征中国上古神话中的英雄神话表现出文化英雄全心全意为人类造福、无私奉献的道德意识和他们在先民心目中的崇高地位。以上各个特征之间互相渗透、不可分割，共同形成中国上古神话思维的整体特征。其次，本文从中国上古神话思维的以上特征出发，进一步探究中国上古神话思维对于审美意识发生的母体意义。由此得出以下认识：从审美对象上看，中国上古审美发生关注具体的物化意象，中国上古神话中的审美对象大都是形式美、怪诞美、自然美：从审美心理上看，审美意识发生与情感密切相关；从审美方式来看，中国上古审美意识发生是物我一体的：从审美意蕴来看，中国上古审美意识发生崇尚生命，具有生命内容的意象成为审美对象；从审美价值目标来看，中国上古审美意识与“善”密切相联。这些大致构成中国上古审美意识发生的综合体系。山此可以看出中国上古神话蕴含了审美艺术发生的最初根据。神话思维与审美思维的亲缘关系得到充分印证。当然神话思维与审美思维还是有明显不同，神话思维只是孕育了审美思维而并非等同于它。中国上古审美意识并不纯粹，它更关注娱神祈福等功利目的。中国上古神话思维并非纯粹形象思维，其间也交织着抽象思维。中国上古神话体现了中华民族的天赋创造力，是一种未经破坏的先民心灵自山的表现，它具有一种非常开阔的视域和深刻的洞察力。它曾对中国古代哲学、美学、文学等学科产生重要影响。面对西方文明对中国文化的全面整合，中国应回归自己的精神家园反思自己，汲取动力以把握未来的方向。
[Abstract]:While modern civilization is fully satisfied with the material needs of people, it makes adults and people, the alienation between human and the world. The world is a lonely and desperate wasteland in the eyes of people. Human beings need to return to their spiritual home, heal the wounds and gain power. Mythology is the spiritual home of the cultures of all nationalities. Fully grasp the inherent spirit and cultural temperament of a nation in a long historical period.
Mythology is full of fantasy and fiction. Its essence is to reflect human social life in a certain historical period by means of exaggeration and imagination. Mythology is the original heart course of an ancient nation that can not be transcended, and exists universally among all ethnic groups in the world. Mythological thinking can best reflect the vitality of Mythology and explore culture through mythological thinking. In all kinds of thinking forms, there is the most close relationship between mythological thinking and aesthetic thinking. Primitive - mythological thinking directly breeds the occurrence of aesthetic consciousness. Western civilization is deeply influenced by mythology. So western scholars have always attached great importance to the study of mythology. The study of Chinese mythology started very late, and Chinese scholars have been excavating mythology in a hundred years. Great achievements have been made in theory and interpretation, but the in-depth study of mythological thinking is still very short. This paper uses the "historical and logical priority principle of history" as the guiding method to study the influence of Chinese ancient mythological thinking on the occurrence of aesthetic consciousness through the analysis of the specific mythological works in the books of the The Classic of the Great Wilderness > and other classics.
First of all, this article studies the basic characteristics of ancient Chinese mythological thinking from five aspects.
Image: image characteristics of ancient Chinese mythological thinking
The ancient Chinese mythology is not a mere physical image, but a product of the conceptualization of the ancient ancestors. "Image" is the medium of Chinese ancient mythological thinking. The image of the ancient Chinese mythology is manifested by the representability of the language. Most of the languages have symbolic meanings. These images are collective images, and the product of collective unconsciousness. Most of the images of ancient gods in China are natural images.
Two, emotion -- the emotional characteristics of ancient Chinese mythological thinking
In Chinese ancient mythology, the ancestors projected their emotions through the consciousness of "self centred" and turned them into external objects, and enriched the content of mythology through witchcraft activities. It can be said that ancient Chinese mythology started the process of thinking with emotion as a link.
Three, and -- chaotic characteristics of ancient Chinese mythological thinking
The "chaos" embodies the state of disorder and whole. The ancient Chinese mythological thinking shows a disorderly integration. The state of chaos is embodied as "harmony", the "sum" of the subject and the object, the "and" of the reality and the imaginary phase, and the "and" of the time and space.
Four, dust -- the characteristics of the worship of ancient Chinese Mythology
Xiao m Bu, "Zhong" 1. words, thinking outside, life is the last topic. People now see the 2 strong mountains that the ancients yearn for to fight for life.
Consciousness. The ancients generalized the concept of life, and the life of man and nature was equal.
The meaning of life lies in the change of life.
Five, morality -- the characteristics of virtue in ancient Chinese mythological thinking.
The heroic myths in ancient Chinese mythology show that cultural heroes wholeheartedly benefit mankind and selflessly serve them.
The moral consciousness and their lofty status in the minds of the ancestors.
The above characteristics are interpenetrated and inseparable, forming the whole thinking of ancient Chinese mythology.
Body characteristics.
Secondly, starting from the above characteristics of ancient Chinese mythological thinking, this article further explores ancient Chinese gods.
From the perspective of aesthetic objects, we can get the following understanding.
Ancient Chinese aesthetics paid attention to specific materialized images. Most of the aesthetic objects in ancient Chinese mythology were shapes.
Style beauty, grotesque beauty and natural beauty: from the perspective of aesthetic psychology, the occurrence of aesthetic consciousness is closely related to emotion.
From the aesthetic point of view, the occurrence of ancient Chinese aesthetic consciousness is the unity of things.
Ancient aesthetic consciousness advocated life, and the image of life content became aesthetic object; from aesthetic value.
From the point of view, ancient Chinese aesthetic consciousness is closely related to "good".
It can be seen that the ancient Chinese mythology contained the beginning of aesthetic art.
According to the relationship between mythological thinking and aesthetic thinking, it is fully verified. Of course, myth thinking and aesthetic thinking.
There is still a distinct difference between Wei and Wei. Myth thinking only breeds aesthetic thinking rather than equals it.
Aesthetic consciousness is not pure. It pays more attention to utilitarian purposes such as entertainment, God and blessing.
The thinking of the image of the Nazi is also intertwined with abstract thinking.
Ancient Chinese mythology embodies the innate creativity of the Chinese nation, and is an unbroken spirit of the ancestors.
From the performance of mountains, it has a very broad field of vision and profound insight.
Learning, aesthetics, literature and other disciplines have important influence. Facing the Western civilization's comprehensive integration of Chinese culture,
China should return to its spiritual home to reflect on itself and draw momentum to grasp the future direction.

【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2002
【分类号】：B932

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