本文選題：隔 + 個(gè)人空間　； 參考：《山東師范大學(xué)》2007年碩士論文

【摘要】： “隔”是中國(guó)古代文學(xué)和藝術(shù)領(lǐng)域中的一個(gè)重要范疇,但當(dāng)前學(xué)術(shù)界對(duì)它的研究卻限定在王國(guó)維思想的框架之中。王國(guó)維并不以“隔”為美,恰恰相反,是以“不隔”為美,這就使“隔”在美感上的重要性長(zhǎng)期以來(lái)被掩蓋了。本文擬從“隔”的基本義入手,分析其美學(xué)內(nèi)涵、理論來(lái)源、審美形態(tài)及其在文學(xué)藝術(shù)上的審美表現(xiàn)與審美特征,以期較為系統(tǒng)、詳盡、準(zhǔn)確、清晰地將這一范疇闡釋清楚。 全文共分為六個(gè)部分。 導(dǎo)言。歸納當(dāng)前學(xué)術(shù)界對(duì)“隔”這一范疇的研究現(xiàn)狀,指出本文的研究方法、理論價(jià)值和論文結(jié)構(gòu)。 第一部分,研究“隔”的本義、審“隔”意識(shí)的起源、哲學(xué)基礎(chǔ)及其在中國(guó)古代文化思想史上的歷史流脈。在審“隔”意識(shí)的起源問(wèn)題上,本文從發(fā)生學(xué)的視角探討了人們以“隔”為美的成因。由于原始人無(wú)法抵御冬季里北風(fēng)的凜冽,常常因山掘穴而居,所以山之“隔”給人以溫暖感和安全感;并且,高大的山體還是抵御異族入侵的天然屏障。隨著人們征服自然的能力增強(qiáng),山之“隔”的實(shí)用功能漸漸轉(zhuǎn)化為人們的心理需要和審美需要,從而產(chǎn)生了以“隔”為美的審美意識(shí)。 本文研究的重點(diǎn)是第二部分和第三部分。 第二部分主要探討了“隔”之美的審美形態(tài)。“隔”之美是一種現(xiàn)實(shí)的存在,在社會(huì)、自然、藝術(shù)領(lǐng)域及人自身都有所體現(xiàn),而其藝術(shù)上的表現(xiàn)形態(tài)是重點(diǎn)論述的內(nèi)容。 第三部分探討了“隔”之美的審美特征,包括其總體特征以及文學(xué)、建筑、繪畫(huà)藝術(shù)之“隔”的審美特征。重點(diǎn)論述文學(xué)之“隔”。文學(xué)之“隔”的審美特征主要體現(xiàn)在兩個(gè)方面。首先是文學(xué)與人生刻意的距離。文學(xué)常通過(guò)各種方式拉開(kāi)與人生的距離,比如陌生化的語(yǔ)言、詩(shī)的形式、情節(jié)的離奇等等。其次是文學(xué)語(yǔ)言的遮蔽性之美。文學(xué)要表現(xiàn)的是有血有肉的具象世界,而語(yǔ)言卻是抽象的符號(hào),這就決定了文學(xué)語(yǔ)言具有不可避免的遮蔽性——不能從語(yǔ)言中直接獲得視覺(jué)享受,而是首先要突破語(yǔ)言符號(hào)之“隔”,才能在想象中獲得虛在的視覺(jué)影象。語(yǔ)言的遮蔽性固然表明它不夠直觀,卻成全了讀者的想象,使有限的文本擁有了無(wú)限的可開(kāi)拓的審美想象空間。 第四部分探討了“隔”之美的價(jià)值,特別是它所表現(xiàn)的民族審美傾向——對(duì)“含蓄”之美的偏愛(ài)。 第五部分是個(gè)案分析。以《紅樓夢(mèng)》中所描述的“大觀園”為例來(lái)說(shuō)明“隔”如何在園林布景的實(shí)際運(yùn)用中產(chǎn)生美。主要分析了大觀園中的假山、圍墻等富有特色的“隔”之美。 本文的創(chuàng)新點(diǎn)主要有三個(gè):一是在論題的選擇上有獨(dú)創(chuàng)性,彌補(bǔ)了當(dāng)前學(xué)界對(duì)“隔”的研究的不足,將“隔”作為一個(gè)獨(dú)立的美學(xué)范疇進(jìn)行系統(tǒng)的闡述。二是在分析“隔”的總體審美特征時(shí),發(fā)掘出“隔”的層次感、距離感、朦朧感和神秘感,從而使“隔”的美感特征更加具體、清晰。這是本文較重要的一個(gè)創(chuàng)新點(diǎn)。三是個(gè)案的選擇上,以大觀園為例分析其“隔”之美。這既從一個(gè)新的角度發(fā)掘了大觀園之美,又使“隔”之美有了實(shí)實(shí)在在的例證。
[Abstract]:"Septum" is an important category in the field of Chinese ancient literature and art, but the current academic research on it is limited in the framework of Wang Guowei's thought. Wang Guowei does not take "septum" as beauty, but on the contrary, it is "not separated" as beauty. This makes the importance of "septum" in aesthetic sense been concealed for a long time. Starting with the basic meaning of "septum", it analyzes its aesthetic connotation, theoretical origin, aesthetic form and its aesthetic and aesthetic characteristics in literature and art, with a view to making this category clear, detailed, accurate and clear.
The full text is divided into six parts.
The introduction summarizes the current research situation of "gap" in academic circles, and points out the research method, theoretical value and thesis structure.
The first part is to study the origin of the "septum", the origin of the consciousness of the "septum", the philosophical foundation and the historical flow in the history of Chinese ancient culture and thought. The "septum" of the mountain often gives people a sense of warmth and security, and the tall mountains are a natural barrier to resist the invasion of the foreign countries. With the ability to conquer nature, the practical function of the mountain is gradually transformed into the psychological and aesthetic needs of the people, thus creating a "septum" trial. A sense of beauty.
This paper focuses on the second and third parts.
The second part mainly discusses the aesthetic form of the beauty of "septum". The beauty of "septum" is a realistic existence, which is reflected in society, nature, art field and human itself, and its artistic expression is the content of emphasis.
The third part discusses the aesthetic features of the beauty of the "septum", including its general characteristics, the aesthetic features of literature, architecture and painting. It focuses on the "separation" of literature. The aesthetic features of the "separation" of literature are mainly embodied in two aspects. The first is the distance between literature and life. Literature is often opened in various ways. The distance from life, such as the language of defamiliarization, the form of poetry, the strangeness of the plot, and so on. The second is the beauty of the masking of literary language. Literature is a world of flesh and flesh, but language is an abstract symbol, which determines the unavoidable concealment of literary language - no direct access to vision from language. To enjoy, but first to break through the "septum" of language symbols in order to obtain imaginary visual images in imagination. The concealment of language shows that it is not intuitive enough, but the reader's imagination is completed, and the limited text has an infinite space for aesthetic imagination.
The fourth part probes into the value of the beauty of "separation", especially its national aesthetic tendency, the preference for "implicit" beauty.
The fifth part is a case study. Taking the "Grand View Garden" described in the "dream of the Red Mansions" as an example, this paper illustrates how the "septum" produces beauty in the practical application of the landscape architecture. It mainly analyzes the beauty of the "septum" with the characteristics of the rockery in the Grand View Garden and the wall.
There are three main innovation points in this article: first, it has originality in the choice of the topic, which makes up for the deficiency of the study of the "septum" in the current academic circles and systematically expounds the "septum" as an independent aesthetic category. The two is to dig out the sense of hierarchy, distance sense, hazy sense and God in the analysis of the general aesthetic characteristics of the "septum". Constipation makes the aesthetic features of the "septum" more specific and clearer. This is an important innovation in this article. Three is the choice of the case and the beauty of the "Daguan garden" as an example, which not only excavates the beauty of the Grand View Garden from a new angle, but also makes the beauty of the "septum" a real example.

【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2007
【分類號(hào)】：I01

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 李琳琳;寓情于景，神余言外[D];河南大學(xué);2010年

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本文編號(hào)：1781371