【摘要】：在創(chuàng)造過(guò)程中，廣泛存在非理性現(xiàn)象，但總體而言，非理性的研究難如人意。從外部原因看，是狹隘的意識(shí)形態(tài)化傾向和理性主義中心化傾向壓制了它的研究。從內(nèi)部原因看，非理性本身作為一種復(fù)雜的心理現(xiàn)象，是難以用科學(xué)的手段和邏輯的語(yǔ)言方式來(lái)準(zhǔn)確表述的。它是一股涌動(dòng)的生命之流，奔行于規(guī)則和秩序之外，卻又在暗中不斷的支配藝術(shù)家的創(chuàng)作行動(dòng)。 非理性的創(chuàng)造功能研究，首先從其概念的厘定入手。先前的對(duì)非理性概念的闡釋?zhuān)瑢?shí)際上是走向兩個(gè)極端。持否定態(tài)度的學(xué)者，以一種柏拉圖式的偏見(jiàn)將非理性簡(jiǎn)單的等同于情欲，其傷風(fēng)敗俗的惡果自然而然受到理性的排斥；另一極端很明顯的移植了西方非理性主義的觀點(diǎn)，將非理性看作生命的本體，是世界的本質(zhì)，因而是支配宇宙運(yùn)行的惟一力量。平衡論的研究也只是在理性與非理性的張力中游移。我們認(rèn)為，從表層意義而言，非理性是一集合性概念，是無(wú)意識(shí)、想象、直覺(jué)等因素的統(tǒng)稱(chēng)；從深層意義而言，非理性是以人的原初欲望為起點(diǎn)，借助生命沖動(dòng)來(lái)實(shí)現(xiàn)人的自由意志的本質(zhì)力量。在創(chuàng)造的過(guò)程中，非理性具有顛覆性和建構(gòu)性、差異性和不可重復(fù)性、突發(fā)性和易變性、非自覺(jué)性與非邏輯性、情緒性和非語(yǔ)言性的特征。 要想給予非理性以合法性的理論空間，必須處理好理性與非理性的關(guān)系。理性與非理性，既不能落入儒家傳統(tǒng)的理馭情的舊范式，又不能采用以非理性取代理性的非理性主義的觀點(diǎn)。二者是一種寬容自由的、開(kāi)放性的對(duì)話關(guān)系。在創(chuàng)造中，，它們相互為用、相輔相成、不可分割。這種新型的對(duì)話關(guān)系是對(duì)二無(wú)對(duì)立思維的顛覆，它超越了浮躁的功用論、等級(jí)論以及以倫理化的價(jià)值判斷。二者既互為中介，互相轉(zhuǎn)化，又在特定環(huán)節(jié)中矛盾存在，最后統(tǒng)一于人的自由——?jiǎng)?chuàng)造的自由。這是人的潛能的完全實(shí)現(xiàn)，是創(chuàng)造主體的高峰體驗(yàn)。 深入研究非理性的創(chuàng)造結(jié)構(gòu)，也是研究非理性創(chuàng)造功能的有機(jī)部分。非理性是一個(gè)整體，整體功能大于部分所具的功能之和。非理性由動(dòng)力結(jié)構(gòu)和形式結(jié)構(gòu)兩部分組成。動(dòng)力結(jié)構(gòu)由無(wú)意識(shí)組成，它位于創(chuàng)造主體心理上的最深層，既是創(chuàng)造的根本驅(qū)動(dòng)力，又是信息存貯場(chǎng)。在無(wú)意識(shí)領(lǐng)域中，情欲浸 潤(rùn)著主體的經(jīng)驗(yàn)和知識(shí)信息，推動(dòng)藝術(shù)家去追求更高的審美目標(biāo)。 非理性的形式結(jié)構(gòu)由靈感、想象和直覺(jué)組成部分。三者都以無(wú)意識(shí)為動(dòng) 力，互相聯(lián)系而又表現(xiàn)出不同。靈感抉裹著想象和情感，是創(chuàng)造性活動(dòng)中的 特殊飛躍狀態(tài)，是創(chuàng)造力的完美體驗(yàn);藝術(shù)家通過(guò)想象超越現(xiàn)象界，使一種 潛在的、非現(xiàn)實(shí)的東西出場(chǎng)，并使藝術(shù)家進(jìn)入虛幻的藝術(shù)世界，使自我的心 靈對(duì)話成為可能;直覺(jué)，是心靈的穿透力，是對(duì)審美客體的瞬間的、自發(fā)的、 直接的把握，它能快速捕捉審美意象并克月時(shí)弓造中的障礙，是藝術(shù)家必備的 創(chuàng)造能力之一。 整體的非理性作為人的另一重要的本質(zhì)力量，使理性和非理性之間的對(duì) 話關(guān)系得以形成。對(duì)話關(guān)系是對(duì)舊的二元對(duì)立思維的超越，是非理性研究的 一項(xiàng)突破。非理性的研究有著積極的現(xiàn)實(shí)性意義。它反對(duì)現(xiàn)代轉(zhuǎn)型社會(huì)中存 在的大量的功利理性役使下的淺層次創(chuàng)造，從而提倡更具深刻內(nèi)涵的原創(chuàng) 觀.在更高的哲學(xué)層面上而言，無(wú)功利的創(chuàng)造就是將創(chuàng)造主體從異化狀態(tài)中 解放出來(lái)，體驗(yàn)著人性完美的極度幸福。
[Abstract]:In the process of creation, irrational phenomena exist extensively, but in general, irrational research is unsatisfactory. From the external reasons, the narrow ideological tendency and rationalistic centralization tendency suppress its research. From the internal reasons, irrational itself as a complex psychological phenomenon, is difficult to use scientific means and logic. It is a surging stream of life, running outside the rules and order, but secretly dominating the artist's creative activities.
The study of the creative function of irrationality begins with the definition of its concept. The previous interpretation of the concept of irrationality actually goes to two extremes. It is obvious that the Western irrationalism is transplanted, and that irrationalism is regarded as the noumenon of life, which is the essence of the world, and therefore the only force governing the operation of the universe. In the deep sense, irrationality is the essential power of human's free will, starting from human's original desire and using life impulse to realize human's free will. The characteristics of mood and non language.
If we want to give irrationality a theoretical space of legitimacy, we must deal with the relationship between rationality and irrationality. Rationality and irrationality can neither fall into the old Confucian paradigm of rational control of emotion, nor adopt the viewpoint of irrationalism replacing rationality with irrationality. They serve each other, complement each other, and are inseparable. This new dialogic relationship is a subversion of the two-nonantagonistic thinking, which goes beyond impetuous utilitarianism, hierarchy and ethical value judgment. This is the full realization of human potential and the peak experience of creative subjects.
Irrationality is a whole, and the whole function is greater than the sum of the functions of the parts. Irrationality consists of two parts: the dynamic structure and the formal structure. The fundamental driving force is the information storage field.
Moistening the main body's experience and knowledge, and promoting artists to pursue higher aesthetic goals.
The irrational form structure consists of inspiration, imagination and intuition. The three are all unconscious.
Force is interrelated and different. Inspiration is wrapped in imagination and emotion. It is a creative activity.
The special leap state is the perfect experience of creativity; the artist transcends the phenomenal realm by imagining, making one kind of
Potential, unrealistic things come out, and enable artists to enter the illusory world of art.
Spiritual dialogue is possible; intuition is the penetrating power of the soul, and it is instantaneous and spontaneous to the aesthetic object.
Direct grasp, it can quickly capture the aesthetic image and create obstacles in the month, is an essential part of the artist.
One of creativity.
The overall irrationality, as another important essential force of human beings, makes the difference between reason and irrationality.
Dialogic relations are formed. Dialogue is the transcendence of the old two opposite thinking and is the study of irrationality.
A breakthrough. Irrational research has positive practical significance. It is against the existence of a modern transitional society.
In a large number of utilitarian and rational work of shallow creation, so as to promote more profound connotation of the original.
From a higher philosophical level, the creation without utility is to alienate the creative subject from alienation.
Liberated, experiencing the perfect happiness of human nature.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類(lèi)號(hào)】：I04

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 袁麗珍;現(xiàn)代主義視閾下的流浪意識(shí)[D];廣東技術(shù)師范學(xué)院;2012年

本文編號(hào)：2195924