丑在感性绵延中的纠缠
发布时间：2019-05-08 13:08
【摘要】： 自二十世纪末以来,文学与艺术呈现多元化的发展趋势,在追随时代变迁的影响下,审美主体的人开始对自身存在的追问、认识以及对人类生存状态的关注比以前更加深入,细致,并期望在人的隐蔽的潜意识中挖掘丑的荒原地。因此,对丑的艺术的审视在不同的领域和思维角度盛行起来,尤其从感性心理学角度的切入,直线窥视人作为类存在的精神荒芜,直面人作为类存在对人性原始本能的透视,更易深入挖掘人性中脆弱和隐秘的空间,可以深刻地揭示现代审丑迫切的精神和心理需求。 本文共分三部分。 在第一部分,本文着力追溯西方审美历史中对“美”的崇尚和对“丑”的抛弃和规避,然而丑的渗透知识用来衬托美的光辉,成为艺术活动的附属品,不论是美丑依存还是美丑转化的观念,“丑”的问题实际上被社会和研究领域所否定。直至波德莱尔的《恶之花》的问世,丑才成为一个独立的美学范畴登上了艺术舞台,并随西方社会的发展和人文感性学的关注渗透于文学、绘画等各个艺术领域。丑开始大行其道。 在第二部分,本文认为,丑是真实折射社会颜容的一面镜子,比美更真切、实在。具有社会属性的丑之所以能够在近代审美史上发生令人惊奇的质的转变和超越是有其内在成熟和发展的多方面因素的。人性的感性多元认识,不同时代下受众心理结构的差异对人性意识的潜移默化向我们展示了一幅逼真的“审丑图”。人类源于兽性的情感涌动唤醒了昔日被麻痹的所谓的“精神领域”。人类难堪的欲望铺天盖地、昭然若示,如此快感由中而生,非理性的性涌动盘旋式的在不断上升起来。 在第三部分,“异己”的“性格”力量塑造了源源不断的新形象冲击着我们的视线,这股似强流般的视觉冲击力以勇敢的姿态超越了唯美而不断的上升趋势,在这个饱受理性和文明净化的国度里,向我们展示了蠢蠢欲动的人类世界深处即将要进发出的,并最能展现人性色彩的东西。“它”是清溪还是浊泥?或许在人性领域再也没有完美的界限将它们分离,“存在即是真理”亦是意蕴世界自由充分的表达,人类也就由审美的必然王国进入自由王国,一切复归人性的平和。人类花样翻新,审美出丑,审丑出美,到头来还是发现孙悟空未跳出如来佛的手掌心。
[Abstract]:Since the end of the twentieth century, literature and art have shown a diversified trend of development. Under the influence of the changes of the times, the aesthetic subjects began to question their own existence, understand and pay more attention to the existence of human beings than ever before. Meticulous, and looking forward to excavating ugly wasteland in man's hidden subconscious. Therefore, the examination of ugly art prevails in different fields and thinking angles, especially from the perspective of perceptual psychology, to look straight at the spiritual desolation of human being as a kind of existence, and to face the perspective of primitive instinct of human nature as a kind of existence. It is easier to dig into the fragile and secret space of human nature, which can deeply reveal the urgent spiritual and psychological needs of modern ugliness. This paper is divided into three parts. In the first part, this paper focuses on tracing back to the Western aesthetic history of "beauty" worship and "ugliness" abandoned and evaded, however, ugly infiltration knowledge used to set off the beauty of the glory, as an accessory to art activities. Whether it is the dependence of beauty or ugliness or the transformation of beauty and ugliness, the problem of ugliness is actually denied by society and the field of research. Until the emergence of Baudelaire's the Flower of Evil, ugliness became an independent aesthetic category on the art stage, and permeated into literature, painting and other art fields with the development of western society and the concern of humanism and sensibility. Ugliness began to prevail. In the second part, the author thinks that ugliness is a mirror that reflects the appearance of society, which is more true and real than beauty. The reason why the ugliness with social attributes can take place in the modern aesthetic history of amazing qualitative transformation and transcendence is its inherent maturity and development of many factors. The perceptual multi-cognition of human nature and the subtle influence of the difference of audience's psychological structure on human consciousness in different times show us a realistic "ugliness picture". Human emotions from animal origin awaken the so-called "spiritual realm", which was paralyzed in the past. The desire for human embarrassment is so exasperating that it is evident that such pleasure arises from the middle, and irrational sexual surges are on the rise. In the third part, the "character" force of "dissent" has shaped a constant stream of new images to impact our sight, this strong current-like visual impact with a brave posture beyond the aesthetic and continuous upward trend. In a country that is purified by reason and civilization, it shows us what is about to come out of the depths of the human world, and what is most capable of showing humanity. Is it Qingxi or muddy mud? Perhaps there is no perfect boundary in the field of human nature to separate them, "being is the truth" is also a free and full expression of the world, human beings from the aesthetic kingdom of necessity into the free kingdom, all return to the peace of human nature. Human style renovation, aesthetic ugliness, ugliness out of beauty, or found that Sun Wukong did not jump out of the palm of Buddha.
【学位授予单位】：西北大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：I01
本文编号：2471936
[Abstract]:Since the end of the twentieth century, literature and art have shown a diversified trend of development. Under the influence of the changes of the times, the aesthetic subjects began to question their own existence, understand and pay more attention to the existence of human beings than ever before. Meticulous, and looking forward to excavating ugly wasteland in man's hidden subconscious. Therefore, the examination of ugly art prevails in different fields and thinking angles, especially from the perspective of perceptual psychology, to look straight at the spiritual desolation of human being as a kind of existence, and to face the perspective of primitive instinct of human nature as a kind of existence. It is easier to dig into the fragile and secret space of human nature, which can deeply reveal the urgent spiritual and psychological needs of modern ugliness. This paper is divided into three parts. In the first part, this paper focuses on tracing back to the Western aesthetic history of "beauty" worship and "ugliness" abandoned and evaded, however, ugly infiltration knowledge used to set off the beauty of the glory, as an accessory to art activities. Whether it is the dependence of beauty or ugliness or the transformation of beauty and ugliness, the problem of ugliness is actually denied by society and the field of research. Until the emergence of Baudelaire's the Flower of Evil, ugliness became an independent aesthetic category on the art stage, and permeated into literature, painting and other art fields with the development of western society and the concern of humanism and sensibility. Ugliness began to prevail. In the second part, the author thinks that ugliness is a mirror that reflects the appearance of society, which is more true and real than beauty. The reason why the ugliness with social attributes can take place in the modern aesthetic history of amazing qualitative transformation and transcendence is its inherent maturity and development of many factors. The perceptual multi-cognition of human nature and the subtle influence of the difference of audience's psychological structure on human consciousness in different times show us a realistic "ugliness picture". Human emotions from animal origin awaken the so-called "spiritual realm", which was paralyzed in the past. The desire for human embarrassment is so exasperating that it is evident that such pleasure arises from the middle, and irrational sexual surges are on the rise. In the third part, the "character" force of "dissent" has shaped a constant stream of new images to impact our sight, this strong current-like visual impact with a brave posture beyond the aesthetic and continuous upward trend. In a country that is purified by reason and civilization, it shows us what is about to come out of the depths of the human world, and what is most capable of showing humanity. Is it Qingxi or muddy mud? Perhaps there is no perfect boundary in the field of human nature to separate them, "being is the truth" is also a free and full expression of the world, human beings from the aesthetic kingdom of necessity into the free kingdom, all return to the peace of human nature. Human style renovation, aesthetic ugliness, ugliness out of beauty, or found that Sun Wukong did not jump out of the palm of Buddha.
【学位授予单位】：西北大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：I01
【引证文献】
相关硕士学位论文 前4条
1 钟芳倩;新时期女性小说审丑现象研究[D];湖南科技大学;2011年
2 迟洪燕;“丑”态凸显[D];华中师范大学;2012年
3 李冰雪;现代性语境下审丑问题研究[D];陕西师范大学;2012年
4 刘妍雪;《红楼梦》审丑艺术研究[D];青海师范大学;2012年
，本文编号：2471936
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