《江格尔》与《伊利亚特》审美比较

发布时间：2018-03-03 05:43

本文选题：审美同情观　切入点：江格尔　出处：《内蒙古师范大学》2010年硕士论文　论文类型：学位论文

【摘要】： 人类社会历史发展的共同过程具有一致性和规律性,而比较文学作为一种开放性的文学研究,其具有宏观的视野和国际的角度。《江格尔》与《伊利亚特》之比较,可以在跨文化的文学关系中相对照,以帮助我们认识总体文学乃至人类文化的基本规律。以《伊利亚特》为代表的西方海洋文化和以《江格尔》为代表的东方草原文化是产生于异质文明系统之中的文化类型。其中,以“万物有灵观”为哲学认识论基础的东方“审美同情观”更多的表现为“寄情于物”、“情景交融”,属于一种处于同等地位上的主客体情感生命意识的互渗、互致、互感。其突出强调的是审美客体对主体的情感影响,审美主体在审美过程中处于一种相对被动的位置。而以“心物二元论”为哲学认识论基础的西方审美移情理论则属于一个独立的理论范畴,其突出强调的是审美主体在审美过程中自身情感的迁移,在处理主客体之间的关系时,主体始终是居于客体之上的,表现为一种思维或行为的主动。本文即欲着重从二者的审美层面对史诗进行一定程度上的比较研究,从而进一步了解处于不同文化类型下的人们,其审美观念在社会生活细节中的体现,其精神信仰在社会精神生活层面上的流露,以及由于不同人物形象的塑造而展现出来的深层的生命思考。本文共分六个部分: 第一部分为引言,主要阐述了论文研究的背景与意义、历史与现状、思路与新意所在。第二部分主要探究源于原始思维的审美,并最终根据东西方不同的审美思维确定本文所指的审美内涵。第三部分主要对东西方美学中的审美观进行学理上的阐发。在对东方审美“同情观”与西方审美“移情说”给予界定的同时,分析这两种审美观所独立存在的哲学基础,即对“万物有灵观”与“心物二元论”加以阐说。第四部分主要分析《江格尔》与《伊利亚特》审美表征的不同与相同表现。对于不同思维模式影响下的审美,两部史诗表现出了“物我同一”与“彰显个性”的审美分歧,同时也展现出了以生命与荣誉为内涵的审美趋同意识。第五部分主要从文明以及文化的视角对东方与西方史诗之所以表现出不同的审美表征进行一定程度上的成因解读。第六部分为结语,史诗审美并非属于一个恒定的概念范畴,其在特定的时代里固然有相对恒定的审美意蕴,但却是而且应该是始终处于发展之中的活态现象。应该明了,正确对待史诗审美对民族文学的发展作用匪浅。
[Abstract]:The common process of the historical development of human society is consistent and regular, while comparative literature, as an open literary study, has a macroscopic view and an international perspective. It can be contrasted in cross-cultural literary relations to help us understand the basic laws of general literature and even human culture. Western marine culture, represented by Iliad, and Oriental grassland culture, represented by Jangger, are the types of culture that originated in the heterogeneous civilization system. On the basis of the philosophical epistemology, the oriental "aesthetic view of sympathy", which is based on the philosophical epistemology of "all things and animism", is more manifested in the expression of "feeling in things" and "blend of feelings and scenes", which belongs to the mutual permeation of the emotional life consciousness of the subject and object in the same position. Mutual sensation. What it highlights is the emotional influence of the aesthetic object on the subject, The aesthetic subject is in a relatively passive position in the aesthetic process, while the western aesthetic empathy theory, which is based on the philosophical epistemology, belongs to an independent theoretical category. In the process of aesthetic appreciation, the subject is always above the object when dealing with the relationship between the subject and the object. This paper focuses on the comparative study of epics from their aesthetic level, so as to further understand the people in different cultural types. Its aesthetic concept is embodied in the details of social life, its spiritual belief is revealed on the level of social spiritual life, and the deep thinking of life is revealed by the creation of different characters' images. This paper is divided into six parts:. The first part is the introduction, mainly expounds the background and significance, history and current situation, ideas and new ideas. The second part mainly explores the aesthetics originated from the primitive thinking and finally determines the aesthetic connotation of this paper according to the different aesthetic thinking between the East and the West. The third part mainly expounds the aesthetics of the East and the West. While defining the "view of sympathy" and the "empathy theory" of the western aesthetics, the author analyzes the philosophical basis of the independent existence of the two aesthetic standards. That is to say, the concept of animism and the dualism of mind and object are expounded. The 4th part mainly analyzes the difference and the same expression of the aesthetic representation of "Jangger" and "Iliad". The two epics show the aesthetic differences between "the same thing, I" and "showing individuality" for the aesthetic under the influence of different thinking modes. At the same time, it also shows the aesthetic convergence consciousness with the connotation of life and honor. The 5th part mainly explains the reason why the oriental and western epics show different aesthetic characteristics from the angle of civilization and culture. The 6th part is the conclusion. Epic aesthetics does not belong to a constant conceptual category. Although it has a relatively constant aesthetic implication in a particular era, it is and should be a living phenomenon in development all the time. The correct treatment of epic aesthetics plays an important role in the development of national literature.
【学位授予单位】：内蒙古师范大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：I0-03;I106

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