本文選題：“樂”　切入點：審美內(nèi)涵　出處：《青海師范大學(xué)》2016年碩士論文　論文類型：學(xué)位論文

【摘要】：關(guān)于孔子美學(xué)中“樂”的內(nèi)涵,歷代文學(xué)家、美學(xué)家及文學(xué)美學(xué)評論者都有不同的界定�；谥袊糯]有美學(xué)這一獨立學(xué)科,且大多理論均來源于西方,因此在融合發(fā)展的過程中,中國古代美學(xué)被賦予了眾多不確定性的定義和內(nèi)涵。即至今為止,中國美學(xué)并沒有一個被普遍認同的固定性定義和內(nèi)涵�？鬃用缹W(xué)及其中“樂”的審美內(nèi)涵更是如此。因此,筆者認為,在中國美學(xué)不斷被重視和發(fā)展研究的今天,對孔子美學(xué)中“樂”的審美內(nèi)涵的界定、闡釋和總結(jié)是十分必要的。這不但有利于更深入地認識孔子美學(xué),同時也對中國古代美學(xué)的進一步研究、發(fā)展和傳承有著重要價值。因此,本文旨在立足于《論語》文本,對其中所涉及到的48個“樂”字(包括通樂的“說”字),從樂(yuè)和樂(lè)兩方面進行審美內(nèi)涵上的分類和闡述,并探討孔子美學(xué)中的“樂”的美學(xué)思想對后世的重要影響和意義。本文除緒論之外,主要從以下三個方面展開論述:第一部分闡述“樂”(yuè)在《論語》中的審美內(nèi)涵。主要闡述“樂”(yuè)的娛樂性和超越性兩方面的審美內(nèi)涵。娛樂性的審美內(nèi)涵主要分為感覺上的享受和情感上的共鳴兩部分;超越性的審美內(nèi)涵則注重與詩、禮進行一定的比較研究,從而探討區(qū)別于二者的“樂”(yuè)所具有的超越性的獨特審美內(nèi)涵。第二部分闡述“樂”(lè)在《論語》中的審美內(nèi)涵。創(chuàng)新性地分別以人、藝術(shù)和自然為視角,探討“樂”(lè)關(guān)于人生,關(guān)于文學(xué)藝術(shù)以及關(guān)于自然三方面不同的美學(xué)釋義。第三部分則探討孔子“樂”的美學(xué)思想對后世的影響與意義。從“樂”(yuè)、“樂”(lè)兩方面進行積極性和消極性影響的分析和闡述。這對于當(dāng)下所倡導(dǎo)的華夏民族審美品格的展現(xiàn)和傳承有重要意義。
[Abstract]:The connotations of "music" in Confucius' aesthetics are defined differently by writers, aestheticians and literary aesthetic critics in different dynasties. Based on the fact that there was no independent subject of aesthetics in ancient China, and most of the theories originated from the West, Therefore, in the process of integration and development, ancient Chinese aesthetics has been endowed with many definitions and connotations of uncertainty. Chinese aesthetics does not have a fixed definition and connotation that is generally accepted. This is especially true of Confucius aesthetics and its aesthetic connotations of "music". Therefore, the author believes that, today, Chinese aesthetics is being paid more attention to and developed. It is necessary to explain and summarize the aesthetic connotation of "music" in Confucius aesthetics, which is not only conducive to a deeper understanding of Confucius aesthetics, but also to the further study of ancient Chinese aesthetics. Therefore, based on the Analects of Confucius text, this article aims at classifying and expounding the aesthetic connotations of the 48 "Yue" characters (including the "said" word of Tong Le) and the aesthetic connotations of Le Li Yu 貓 and Le Li l 貓, which are related to the Analects of Confucius and the Analects of the Analects of the Analects of Confucius (Analects of Confucius). In addition to the introduction, this paper discusses the important influence and significance of the aesthetic thought of "Yue" in Confucius' aesthetics on later generations. It mainly discusses the following three aspects: the first part expounds the aesthetic connotation of "Yue" in the Analects of Confucius. It mainly expounds the aesthetic connotations of "Yue" Yu 貓 's entertainment and transcendence. The aesthetic connotation of entertainment is mainly divided into two parts: the aesthetic connotation of "Yue" and the aesthetic connotation of "Yue Yu 貓" in the Analects of Confucius and the Analects of the Analects. For the feeling of enjoyment and emotional resonance of the two parts; On the other hand, the aesthetic connotation of transcendence pays much attention to the comparative study with poetry and propriety. The second part expounds the aesthetic connotation of "Yue" and "Yue" in the Analects of Confucius. The second part discusses the life of "Yue" and "Le" from the perspective of man, art and nature respectively and innovatively, from the perspective of man, art and nature, the second part expounds the aesthetic connotation of "Le" in the Analects of Confucius and the Analects of the Analects of Confucius. The third part discusses the influence and significance of Confucius' aesthetic thought of "music" on later generations. This is of great significance to the display and inheritance of the aesthetic character of the Chinese nation.
【學(xué)位授予單位】：青海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2016
【分類號】：I01
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本文編號：1613095