中国古代“物化”理论和文学创作规律
发布时间：2018-07-17 06:48
【摘要】： 东西方的美学理论,有相同的共性,但文化的差异,使得它们又具有明显的差异。中国古代“物化”理论与西方“移情”说分属中西文化领域的两个范畴。“移情”说是20世纪初以德国美学家立普斯为代表的美学家提出的一种颇有影响的学说;中国古代“物化”理论以先秦时期老子提出的“惚恍”为萌芽,经历了起始期、发展期、深化期和成熟期各个不同阶段的充实和完善,最终形成了一种具有民族特色的审美创造理论,在古代文学艺术的创作中,发挥着积极的、独特的作用。“移情”说和“物化”理论都强调把人的情感、意志投射到所面对的对象之中去,都可以有有意识的想象参与其中。不同的是,两者对想象的认识是不一样的。其次,西方“移情”说的前提是物本无情,物没有地位,已被我取而代之,物的审美价值是人通过移情而赋予的;在中国古人那儿,物有独立的价值和意义,我化入、契入物而不是取代物,这才是真正的“物我同一”。而要实现“物化”状态的必经之途是以虚静之心观照审美对象,这是文学艺术创作过程中的心理酝酿和准备。 “五四”时期文坛出现了一些激进的、偏激的文学观念,例如新文化运动的领袖陈独秀大张“文学革命”之旗,要求推倒雕琢的、阿谀的贵族文学,陈腐的、铺张的古典文学以及迂晦的、艰涩的山林文学,“曰推倒雕琢的、阿谀的贵族文学,建设平易的、抒情的国民文学。曰推倒陈腐的、铺张的古典文学,建设新鲜的、立诚的写实文学。曰推倒迂晦的、艰涩的山林文学,建设明了的、通俗的社会文学。”在当时那种激进的文学革命形势之下,对“物化”这样的古老理论更是认为其会让人变得甘于现状、毫无作为,不适应当时要求积极行动的革命形势,因此一概加以否定。实际上“物化”思想是中国古典文艺学、美学“物化”观念的理论起点,中国古代文论中包含的许多艺术思想是体系完整、较为规范、具有创造性的,对今天的文学艺术创作仍然富有积极的启发和指导意义。中国文艺理论界受西方文艺理论影响较深,习惯于用西方的理论分析文学问题,往往忽视了中国古代文论的意义和价值。诚然,西方文论有一定的借鉴作用和价值,但如果不加思考地全盘接受、全盘运用的话,那么结果往往导致西方的思维模式占据了主导,而本民族优秀的文化理论遗产则被忽略甚至弃之不顾。 本文选择中国古代“物化”理论与西方“移情”说进行比较,在得出两者相通之处的同时,结合中西方不同的思考习惯和欣赏习惯分析出产生差异的原因,并且阐明了以虚静之心进行审美观照,与审美对象融为一体、主客合一,是文学艺术创作中一种必备的心理素质。舍此,无法进入文学艺术创作的最高境界。由此提升出中国古代“物化”理论的意义和价值,目的正是站在今天的理论立场重新发掘和认识中国古代文论的价值和它对今天文学艺术创作的启示和借鉴作用。
[Abstract]:The aesthetic theories of the East and the West have the same commonness, but the differences in culture make them distinctly different. The theory of "materialization" in ancient China and the "Empathy" in the West belong to two categories in the field of Chinese and Western culture. "Empathy" is a kind of influence put forward by the aesthetical aesthetian represented by the German aesthetical lip at the beginning of the twentieth Century. The theory of "materialization" in ancient China was sprouted by the "trance" proposed by Lao Tzu in the pre Qin period, experiencing the enrichment and perfection of the different stages of the beginning, development, deepening and maturity, and finally formed a theory of aesthetic creation with national characteristics. In the creation of ancient literature and art, it has played a positive and unique role. The theory of "Empathy" and "materialization" emphasize that people's emotions and will are projected into the objects they face, and they all have a conscious imagination to participate. The difference is that the two are different to the imagination. Secondly, the premise of "Empathy" in the west is the ruthlessness of the object, the absence of the status, and the substitution of me. The aesthetic value of things is given by people through empathy; in the Chinese ancient people, things have independent value and significance. I change into things and not replace things. This is the real "thing and me one". And the way to realize the state of materialization is to observe the aesthetic object with the heart of the quiet and quiet. This is the process of literary and artistic creation. Psychological brewing and preparation.
In the "54" period, there were some radical, extreme literary ideas, such as the banner of Chen Duxiu, the leader of the new cultural movement, the banner of "Literary Revolution", which demanded the overthrow of carved, flattering aristocratic literature, stale, extravagant classical literature, and obscure, artuous mountain literature, "overthrow the carved, flattering aristocratic literature, To build an easy and lyrical national literature, to push down the old, open classical literature, to build a fresh and honest, realistic literature, to overthrow the obscure, arcane mountain literature, to build a clear and popular social literature. "Under the radical literary revolution of that time, the ancient theory of" materialization "was considered more. In fact, the thought of "materialization" is the theoretical starting point of the Chinese classical literature and art and the concept of "materialization" of aesthetics, and many of the artistic ideas contained in ancient Chinese literary theory are complete, more standard and creative. The Chinese literary and artistic theorists are deeply influenced by the western literary theory and are accustomed to analyzing the literary problems with the western theory, often ignoring the significance and value of the ancient Chinese literary theory. When the thinking is all accepted and fully used, the result often leads to the dominant western thinking mode, while the excellent cultural heritage of the nation is ignored or even discarded.
This paper compares the theory of "materialization" in ancient China with the theory of "Empathy" in the west, and analyzes the reasons for the difference in production by combining the different thinking habits and appreciation habits of the western and Chinese, and clarifies the integration of aesthetic objects with the aesthetic objects and the unity of the subject and the guest and the literature. A necessary psychological quality in artistic creation can not enter the highest realm of literary and artistic creation. Thus, the meaning and value of the theory of "materialization" in ancient China is promoted. The purpose is to rediscover and understand the value of ancient Chinese literary theory and its inspiration and reference to today's literary and artistic creation from the standpoint of today's theory. Effect.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：I04
本文编号：2129470
[Abstract]:The aesthetic theories of the East and the West have the same commonness, but the differences in culture make them distinctly different. The theory of "materialization" in ancient China and the "Empathy" in the West belong to two categories in the field of Chinese and Western culture. "Empathy" is a kind of influence put forward by the aesthetical aesthetian represented by the German aesthetical lip at the beginning of the twentieth Century. The theory of "materialization" in ancient China was sprouted by the "trance" proposed by Lao Tzu in the pre Qin period, experiencing the enrichment and perfection of the different stages of the beginning, development, deepening and maturity, and finally formed a theory of aesthetic creation with national characteristics. In the creation of ancient literature and art, it has played a positive and unique role. The theory of "Empathy" and "materialization" emphasize that people's emotions and will are projected into the objects they face, and they all have a conscious imagination to participate. The difference is that the two are different to the imagination. Secondly, the premise of "Empathy" in the west is the ruthlessness of the object, the absence of the status, and the substitution of me. The aesthetic value of things is given by people through empathy; in the Chinese ancient people, things have independent value and significance. I change into things and not replace things. This is the real "thing and me one". And the way to realize the state of materialization is to observe the aesthetic object with the heart of the quiet and quiet. This is the process of literary and artistic creation. Psychological brewing and preparation.
In the "54" period, there were some radical, extreme literary ideas, such as the banner of Chen Duxiu, the leader of the new cultural movement, the banner of "Literary Revolution", which demanded the overthrow of carved, flattering aristocratic literature, stale, extravagant classical literature, and obscure, artuous mountain literature, "overthrow the carved, flattering aristocratic literature, To build an easy and lyrical national literature, to push down the old, open classical literature, to build a fresh and honest, realistic literature, to overthrow the obscure, arcane mountain literature, to build a clear and popular social literature. "Under the radical literary revolution of that time, the ancient theory of" materialization "was considered more. In fact, the thought of "materialization" is the theoretical starting point of the Chinese classical literature and art and the concept of "materialization" of aesthetics, and many of the artistic ideas contained in ancient Chinese literary theory are complete, more standard and creative. The Chinese literary and artistic theorists are deeply influenced by the western literary theory and are accustomed to analyzing the literary problems with the western theory, often ignoring the significance and value of the ancient Chinese literary theory. When the thinking is all accepted and fully used, the result often leads to the dominant western thinking mode, while the excellent cultural heritage of the nation is ignored or even discarded.
This paper compares the theory of "materialization" in ancient China with the theory of "Empathy" in the west, and analyzes the reasons for the difference in production by combining the different thinking habits and appreciation habits of the western and Chinese, and clarifies the integration of aesthetic objects with the aesthetic objects and the unity of the subject and the guest and the literature. A necessary psychological quality in artistic creation can not enter the highest realm of literary and artistic creation. Thus, the meaning and value of the theory of "materialization" in ancient China is promoted. The purpose is to rediscover and understand the value of ancient Chinese literary theory and its inspiration and reference to today's literary and artistic creation from the standpoint of today's theory. Effect.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：I04
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