本文選題：感傷　切入點(diǎn)：藝術(shù)創(chuàng)造　出處：《南京師范大學(xué)》2002年博士論文

【摘要】： 這是一篇研究感傷與藝術(shù)創(chuàng)造之關(guān)系的論文。中西方的文藝家在論及藝術(shù)的時(shí)候，都注意到了情感在藝術(shù)中的地位和作用，有的甚至還將其提升到本體論的高度，將情感問題看成是文藝的本質(zhì)問題，但在對(duì)情感的具體分析上仍不夠深入；中西方文藝家在論及感傷的時(shí)候也大都看到了“感傷”作為一種“風(fēng)格”與經(jīng)典藝術(shù)作品產(chǎn)生之關(guān)系，并將“感傷”作為前綴使用，冠之以諸種藝術(shù)門類之前，，但這對(duì)感傷來說有點(diǎn)降格使用。正是鑒于以上兩點(diǎn)原因，本文在對(duì)經(jīng)典藝術(shù)作品進(jìn)行具體分析的基礎(chǔ)上，在“情感論藝術(shù)觀”的邏輯起點(diǎn)上對(duì)情感做了更為詳盡的分析，在“感傷的風(fēng)格流派論”的基礎(chǔ)上對(duì)感傷做了相應(yīng)的適度的提升。認(rèn)為：在諸多情感形態(tài)當(dāng)中，感傷更趨近于藝術(shù)創(chuàng)造的本源，它應(yīng)當(dāng)是藝術(shù)家心靈和生存的最高境界。感傷不僅僅是某一流派的風(fēng)格，它更應(yīng)當(dāng)是藝術(shù)整體風(fēng)格的呈現(xiàn)。 全文包括前言、正文六章和結(jié)論八個(gè)部分。前言是對(duì)整個(gè)論文寫作原因、寫作目的、正文內(nèi)容和研究方法的概括敘述。正文的第一章和第二章是總述，是從宏觀上論述感傷產(chǎn)生的原因及其與藝術(shù)創(chuàng)造之關(guān)系：第一章偏重于從邏輯的角度，第二章偏重于從歷史的視閾。正文的第三章、第四章是分述，是從微觀上分述為什么說感傷是藝術(shù)家心靈和生存的最高境界：第三章側(cè)重于藝術(shù)家主體的內(nèi)在心靈，第四章側(cè)重于藝術(shù)家主體的外在的生存環(huán)境。第五章主要論述感傷在藝術(shù)種的表現(xiàn)形式，第六章則是輔之以個(gè)案研究。結(jié)論歸結(jié)全篇。
[Abstract]:This is a study of the relationship between sentimental and artistic creation.When discussing art, Chinese and Western writers and artists have paid attention to the position and function of emotion in art, and some have even elevated it to the level of ontology, and regarded emotional problems as the essential problems of literature and art.However, the specific analysis of emotion is still not deep enough. Chinese and Western writers and artists, when dealing with sentimentality, also see the relationship between "sentimentality" as a kind of "style" and classical works of art, and use "sentimental" as a prefix.Before the various categories of art, but for sentimental use a bit demotion.In view of the above two reasons, on the basis of the concrete analysis of the classical art works, this paper makes a more detailed analysis of emotion on the logical starting point of "emotion theory of art".On the basis of the theory of sentimental style, this paper makes a proper promotion of sentimentality.Among the many emotional forms, sentimentality is closer to the origin of artistic creation, and it should be the highest state of artist's soul and existence.Sentimentality is not only the style of a certain school, but also the presentation of the whole style of art.The full text includes preface, main body six chapters and conclusion eight parts.The preface is a summary of the reasons, purposes, contents and research methods of the whole thesis.The first and second chapters of the text are a general introduction, which discusses the causes of sentimental formation and its relationship with artistic creation from a macro perspective: the first chapter focuses on logic, and the second chapter on the perspective of history.The third chapter, the fourth chapter of the text is the division, is from the microscopic point of view why said sentimental is the artist's soul and the survival of the highest realm: the third chapter focuses on the artist's inner mind,The fourth chapter focuses on the external living environment of the artist's subject.The fifth chapter mainly discusses the expression form of sentimentality in art, and the sixth chapter is supplemented by case study.The conclusion comes down to the whole article.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2002
【分類號(hào)】：I01

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 王萍;京劇老生流派崛起的社會(huì)心理研究[D];中國藝術(shù)研究院;2009年

相關(guān)碩士學(xué)位論文 前2條

1 汪洵;蕭紅小說的感傷品格論[D];廣西師范學(xué)院;2010年

2 丁晨曦;論冰波早期抒情童話中的感傷意緒[D];浙江師范大學(xué);2011年

本文編號(hào)：1720519