嫦娥形象的审美文化内涵及其历史嬗变

发布时间：2018-03-22 09:30

本文选题：嫦娥　切入点：审美文化　出处：《山东大学》2009年硕士论文　论文类型：学位论文

【摘要】： 嫦娥形象出现在神话、传说、诗歌、小说、戏曲、舞蹈、雕塑、影视等多种艺术形式中,是一个集人类最初关于生死的审美化观念、历史发展进程中中国女性形象的审美文化、女性对爱情和婚姻中被赋予角色的审美化诠释等意义于一身的艺术形象,相比于女娲、西王母等形象具有更广泛的审美文化内涵。对嫦娥形象的研究与探索离不开中国审美文化的特定背景,从审美的层面去定义文化,文化是指“一种非物质形态的社会存在”。审美文化作为一个民族文化的表达方式之一,必然受该民族特定时代的生产方式、生活方式、信仰方式、思维方式等诸多因素的共同影响,对嫦娥形象的审美文化阐释正是在这些因素共同作用下的结果。本文从贯穿了先秦至今的诸多艺术形式的嫦娥形象出发,根据审美视角和文化背景的不同需求,探究嫦娥形象在不同历史时期体现出的丰富的审美文化内涵。本文除前言和结语外,主体部分共分三章。第一章主要从先秦两汉时期的文本记录出发,研究嫦娥奔月活动中所蕴含的人类历史活动的审美化体现。论文首先从人类面对死亡的恐惧与平衡这种恐惧所进行的审美化理解来阐释嫦娥奔月;其次从种族的延续角度来解释人类在意识到妇女在人类自身生产中的作用时赋予嫦娥奔月的文化意义,从中发现嫦娥奔月中所蕴含的母性崇拜的审美文化意识;再次从人类社会发展到较高的文明阶段时,嫦娥奔月作为反抗父权制的审美化解放运动,在神话向仙话的转变中嫦娥成为寄予审美理想的女性形象。第二章主要从唐宋元明清时的诗歌和小说角度阐释嫦娥奔月由神话到仙话的转变,展现出在时代变迁中人们审美意识的增强和政治教化意义的减弱。首先,嫦娥成为月亮的代称,成为人世间的美好感情与美好事物的象征,吟诗弄月成为文人墨客审美化生活的重要组成部分,同时中秋节成为民间重要的传统节日、蟾宫折桂成为士子不懈追求的目标,这都为嫦娥赋予了更丰富的文化内涵;其次在小说中,嫦娥形象则因“奔月”成为追求独立、自由的女性象征,贴合了世俗化的审美特征,符合了市民阶层的审美心理和审美趣味。第三章则主要研究近现代以来关于嫦娥的种种艺术表现形式中透露出来的更为开放与多元的审美接受状况及其内涵水平。嫦娥形象通过京剧、舞剧、小说、电视剧等传统与现代的表现方式与手段展现了多姿多彩的审美演绎。现当代剧作家结合时下观众的审美趣味和思维方式,将嫦娥形象以多元化的审美角度展现于观众和读者面前。男权社会统治力的逐渐衰落,女性经济地位和社会地位的悄然上升,女性在爱情、亲情、婚姻中的审美化思考赋予了嫦娥新的时代气息和文化色彩。
[Abstract]:Chang'e appears in the mythology, legend, poem, novel, opera, dance, sculpture, film and television and so on. It is a aesthetic culture of Chinese female image in the process of historical development. A woman's aesthetic interpretation of love and the role given to her marriage is in contrast to Nu WA's artistic image. The research and exploration of Chang'e image can not be separated from the specific background of Chinese aesthetic culture, and define culture from the aesthetic level. Culture refers to the "social existence of an immaterial form". As one of the expressions of a national culture, aesthetic culture is bound to be subjected to the mode of production, the way of life and the way of belief in the particular period of the nation. The common influence of many factors, such as mode of thinking, is the result of the aesthetic cultural interpretation of the image of Chang'e. This article starts from the image of Chang'e, which runs through many artistic forms in the pre-Qin Dynasty and now, According to the different demands of aesthetic perspective and cultural background, this paper probes into the rich aesthetic cultural connotation of Chang'e image in different historical periods. In addition to the preface and conclusion, the main part is divided into three chapters. The first chapter mainly starts from the text records of the pre-Qin and Han dynasties. This paper studies the aesthetic embodiment of the historical activities of human beings contained in Chang'e 's activities of running the moon. Firstly, the thesis explains the beauty of Chang'e 's running on the moon from the aesthetic understanding of the fear of facing death and the fear of balance. Secondly, it explains the cultural significance of Chang'e running to the moon when human beings realize the role of women in human production from the perspective of race continuity, and finds out the aesthetic cultural consciousness of maternal worship contained in Chang'e 's running on the moon. Once again from the human society to a higher stage of civilization Chang'e ran to the moon as a movement to resist patriarchal aestheticization and liberation. Chang'e became a female image with aesthetic ideals in the transformation of mythology to fairy language. The second chapter mainly from the Tang, Song, Yuan, Ming and Qing dynasties poetry and novel angle explains Chang'e to run the moon from the mythology to the fairy language transformation, has displayed the enhancement of people's aesthetic consciousness and the weakening of the political enlightenment in the change of the times. First of all, Chang'e became the name of the moon, the symbol of the beautiful feelings and beautiful things in the world, and the singing of poems and the moon became an important part of the aesthetic life of the literati, and the Mid-Autumn Festival became an important traditional folk festival. In the novel, Chang'e 's image becomes the symbol of the pursuit of independence and freedom, which is the symbol of the pursuit of independence and freedom, which accords with the aesthetic characteristics of secularization, and is endowed with a richer cultural connotation for Chang'e; second, in the novel, Chang'e 's image becomes a symbol of the pursuit of independence and freedom. It accords with the aesthetic psychology and taste of the citizen class. The third chapter mainly studies the more open and pluralistic aesthetic acceptance and its connotation level revealed in the various artistic forms of Chang'e since modern times. The traditional and modern ways and means of expression, such as TV dramas, show a variety of aesthetic deductions. Modern and contemporary playwrights combine the aesthetic taste and thinking mode of the audience. The image of Chang'e is displayed in front of the audience and readers from a diversified aesthetic point of view. The dominant power of the patriarchal society gradually declines, the economic and social status of women rise quietly, and women are in love and kinship. The aesthetic thinking in marriage endows Chang'e with a new flavor of the times and culture.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：I01

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