袁枚“性灵”美学思想研究

发布时间：2018-03-29 04:33

本文选题：性灵说　切入点：情　出处：《重庆师范大学》2006年硕士论文

【摘要】： 本文认为,袁枚“性灵”美学思想的基点和最终归宿是“情”。袁枚对“性灵”美学思想的阐发是从关注人自身的“情欲”、“性情”开始的。从人的这种基本的感性因素出发,袁枚进一步给传统的载道之“志”松绑,“诗言志”,这里的“志”不是道德、伦理、政治抱负,而应该是人的情感的自然表现与抒发。诗歌表达情感又其内在的规定,袁枚“性灵”美学思想的具体内涵与特色也体现于此,本文归纳为三点:一是情感创造的真实性;二是情感创造的独创性;三是情感创造的灵与趣。首先,情感创造的真实性是袁枚着重强调的。诗歌的生命力和艺术魅力在于抒情的真实性。袁枚的情感真实论特色在于他强调“诗难其真也,有性情而后真”,这就坚持了情感论与真实论的统一。在明清主情美学思潮中,情感论与真实论为言情派所共同提倡,而性灵论别有“传真不传伪”的理论自觉性和认识深邃性,侧重于情感本体的本真性和创作主体的真诚性的统一,显示出对文学抒情审美本质的深刻把握和对艺术情感的自足性超越性美学特征的深刻理解。其次,情感基础上构建的性灵美学的核心要素是情感的真实论,对情感真实的强调必然带来对创作个性的要求,在袁枚的著述中,他就非常强调自我,十分注意张扬自己的个性与独创性。我们可以从他的著述中摘出“独”、“独立”、“人各性情”这些关键词。袁枚认为,创作既不能重复别人,学韩(愈)、杜(甫)而能变韩、杜,同时也不可重复自己,后者尤为重要,这把艺术独创性提升到一个新维度,实属难能可贵。最后,“性灵”美学对诗趣的推崇是有其内在的逻辑必然的。性灵必然诗灵。诗人有性情、有诗才,其诗作必然容易写得有“生气”、“生趣”,这是勿庸置疑的。但另外需要指出的是“趣”作为性灵派一种重要的审美理想,也是市民意识影响的反映。由于袁枚对待生活的热情,论诗讲求感官的新鲜感受,对生活中所蕴含的情趣,抓住不放,发而为诗。就袁枚的“性灵说”体系自身而言,其内涵相当丰富,它把诗歌创作与个性自由的要求联系起来,强调个体意识,肯定感性欲求作为一种新的人生价值观念对以传统儒学为主体的伦理价值观念的取代,反映出一种要求解放传统束缚和文学自由的倾向。就其实践意义而言,在袁枚稍前或同时,诗坛上门户林立,不是宗唐,即是法宋,复古、攀古已成陋习,表面上虽呈一时繁荣之象,实际上诗歌已经步人了死
[Abstract]:This paper holds that the basic point and ultimate destination of Yuan Mei's aesthetic thought of "sexual spirit" is "emotion". Yuan Mei's interpretation of "sexual spirit" aesthetic thought begins with paying attention to human's own "desire" and "temperament". Yuan Mei further loosened the traditional "will" and "poetry", the "will" here is not moral, ethical, political aspirations, but should be the natural expression and expression of human emotion. The specific connotation and characteristics of Yuan Mei's aesthetic thought of "sexual spirit" are embodied in this, which is summarized into three points: one is the authenticity of emotional creation, the other is the originality of emotional creation; The third is the spirit and interest of emotional creation. First of all, the authenticity of emotional creation is emphasized by Yuan Mei. The vitality and artistic charm of poetry lie in the truth of lyricism. It insists on the unity of emotion theory and truth theory. In the aesthetic trend of main emotion in the Ming and Qing dynasties, emotion theory and truth theory were advocated by the emotionalism school, while the spirit theory had the theoretical consciousness and deep understanding of "facsimile is not false". Focusing on the unity of the originality of the emotional ontology and the sincerity of the creative subject, it shows a profound grasp of the aesthetic essence of literary lyricism and a profound understanding of the aesthetic characteristics of self-sufficiency and transcendence of artistic emotion. Secondly, the core element of the spiritual aesthetics constructed on the basis of emotion is the theory of emotional reality. The emphasis on emotional reality will inevitably bring about the requirement of creative individuality. In Yuan Mei's writings, he emphasizes himself very much. We can extract the keywords of "independence", "independence" and "individual temperament" from his writings. Yuan Mei believes that creation cannot be repeated by others, and that learning from Han (the more he is, du (Fu)) can change Han, du, At the same time can not repeat themselves, the latter is particularly important, this artistic originality to a new dimension, is indeed commendable. Finally, the esthetics of "Spirit of Nature" has its inherent logic in advocating the taste of poetry. The poet has temperament and talent. There is no doubt that his poems are easily written with "anger" and "fresh taste." but it should also be pointed out that "interest", as an important aesthetic ideal of the spiritual school, is also a reflection of the influence of the civic consciousness. Because of Yuan Mei's enthusiasm for life, Poetry stresses the fresh feelings of the senses, and holds the interest of life. As far as Yuan Mei's "spirit of nature" system is concerned, its connotation is quite rich. It links poetry creation with the requirement of individual freedom and emphasizes individual consciousness. Affirmation of sensual desire as a new life value to replace the ethical value with traditional Confucianism as the main body reflects a tendency to liberate traditional bondage and literary freedom. As far as its practical significance is concerned, before Yuan Mei or at the same time, the poetry world is full of gateways. It is not the Tang Dynasty, that is, the law and the Song Dynasty, the restoration of the ancient times, and the climbing of the ancient times has become a bad habit. On the surface, although the appearance of temporary prosperity, in fact, poetry has already moved people to death.
【学位授予单位】：重庆师范大学
【学位级别】：硕士
【学位授予年份】：2006
【分类号】：I01

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