论恐怖与恐怖艺术的审美接受

发布时间：2018-01-07 18:38

本文关键词：论恐怖与恐怖艺术的审美接受　出处：《山东大学》2006年博士论文　论文类型：学位论文

【摘要】：针对恐怖艺术在中国悄然兴起，文艺美学研究者对此鲜有论及，却存在把恐怖直接当作美学范畴的现状，本文选取了恐怖艺术中发展最为成熟的恐怖电影为例，以中、西方相关研究为学术背景，本着历史与逻辑相统一的原则，采取由具体到抽象的思路，通过分析恐怖电影审美接受中出现的恐怖与愉悦的悖论性关系，比较恐怖艺术的恐怖审美经验与其他类型审美经验的异同，从而达到对恐怖艺术的恐怖审美经验的把握。在导论部分，本文针对国内研究现状，提出亟待解决的问题，在对恐怖艺术、恐怖电影进行初步界定的基础上，解释以恐怖电影为例来分析问题的原因。通过分析国内外研究者对恐怖艺术审美接受的研究现状，提出目前研究存在的两大问题：一，研究的分裂论思路把恐怖艺术的审美经验切割成不同的独立运转的领域；二，学者们习惯把恐怖艺术的审美接受同悲剧作比、以现有美学概念来框范这种审美经验，见不出在新的文化历史背景下形成的审美经验的特殊性。鉴于此，本文把理论基点放在审美接受的情感本身，吸收当代心理学研究成果，认为情感既是认知的结果、又组织认知、促使行动，是一种动力机制。情感的产生既包括进化过程中本能反应的一面，又包含对具体情境的利害关系的衡量，有评价的成分，，情感在从感觉到意识、从情绪状态到人格特质的多级水平上并存，以此为基础，确定了论文框架。在第一章中，着重解决恐怖艺术如何让人产生恐怖感的问题。本章共分五节，第一节区分了在中国学界一直混淆的两个不同概念：“terror”与“horror”，指出在西方理论语境下，前者主要同不确定的事物有关，后者主要同可见的事物有关。本文认为在叙事性恐怖艺术的审美接受中，二者不能截然分开，由于恐怖电影的媒介特殊性，其审美接受中的恐怖感以“horror”为基础。在此基础上，第二节中分析了恐怖电影激发的恐怖情感与现实、现实的恐怖的关系。恐怖电影激发恐怖情感的情境、关系、人物等是源于现实生活中激起恐怖情感的情境、关系、人物的，但不需要摹仿物质现实，而是可以变形、夸张、使之陌生化，建构类似于现实中的关系情境，激发恐怖情感。恐怖电影
[Abstract]:In view of the creeping rise of the art of terror in China, the researchers of literature and art aesthetics seldom discuss it, but there exists the present situation that regards terror directly as the category of aesthetics. This paper chooses the most mature horror film in the art of terror as an example. Based on the academic background of Chinese and Western studies and the principle of the unity of history and logic, this paper analyzes the paradoxical relationship between terror and pleasure in the aesthetic acceptance of horror films by taking the thinking from concrete to abstract. Compare the similarities and differences between horror aesthetic experience and other types of aesthetic experience of terror art, so as to grasp the horror aesthetic experience of terror art. In the introduction part, this article aims at the domestic research present situation, proposes the question which urgently needs to be solved, in carries on the preliminary definition to the terror art, the terror movie foundation. By analyzing the current situation of domestic and foreign researchers' research on the aesthetic acceptance of terror art, this paper puts forward two major problems in the present study: 1. The split theory of research cuts the aesthetic experience of terror art into different independent fields. Secondly, scholars are accustomed to compare the aesthetic acceptance of terror art with tragedy, and to frame this aesthetic experience with existing aesthetic concepts, we can not see the particularity of aesthetic experience formed under the new cultural and historical background. In this paper, the theoretical basis of aesthetic acceptance of emotion itself, the absorption of contemporary psychological research results, that emotion is not only the result of cognition, but also the organization of cognition, to promote action. Emotion is a kind of dynamic mechanism. The generation of emotion includes not only the side of the instinctive reaction in the evolution process, but also the measurement of the interest to the specific situation, the component of evaluation, the emotion is from feeling to consciousness. On the basis of multi-level coexistence from emotional state to personality trait, the thesis frame is determined. In the first chapter, we focus on how to solve the problem of how the art of terror makes people feel terrible. This chapter is divided into five sections. The first section distinguishes two different concepts which have been confused in Chinese academic circles: "terror" and "horror", pointing out that the former is mainly related to uncertain things in the western theoretical context. The latter is mainly related to visible things. This paper holds that in the aesthetic acceptance of narrative horror art, the two cannot be separated completely because of the particularity of the media of horror films. The sense of terror in its aesthetic acceptance is based on "horror". On this basis, the second section analyzes the relationship between the horror emotion and the reality, the real horror, the situation and the relationship between the horror film and the horror emotion. The characters are from the situation, the relationship, the character which arouses the terror emotion in the real life, but does not need to imitate the material reality, but can deform, exaggerate, make it defamiliarize, construct the relation situation similar to the reality. To inspire horror. Horror movies.
【学位授予单位】：山东大学
【学位级别】：博士
【学位授予年份】：2006
【分类号】：J01

【引证文献】