薩特想象理論的美學(xué)意蘊
發(fā)布時間：2019-01-06 15:05
【摘要】：讓·保羅·薩特是西方二十世紀(jì)最偉大的哲學(xué)家,其存在主義哲學(xué)所倡導(dǎo)的自由觀和人道主義精神,曾經(jīng)是兩次世界大戰(zhàn)之后,全世界的人們醫(yī)治心靈創(chuàng)傷的良藥。在哲學(xué)上,薩特從現(xiàn)象學(xué)出發(fā),將支配自己命運的權(quán)力重新交還給人和他的自由意志。人的本質(zhì)就是自由,也因此成為了與自在世界相區(qū)分的自為的存在。在薩特看來人的意識并不只是被動的反應(yīng)現(xiàn)實世界,還可以主動地實現(xiàn)否定與超越,而自由意識的對象也往往是虛無和不在場的存在。由此,薩特從存在主義的自由理論出發(fā),在審美世界中將想象抬高到了空前的高度。他首先對以往想象理論進行了批判,并歸納出了想象本質(zhì)上作為一種自由意識的四個特點:意向性、假象性、否定性和自發(fā)性,進而完全與知覺區(qū)分開來。在明確了想象的性質(zhì)和特征之后,薩特逐漸開始將他美學(xué)的卷軸打開,將其與想象密不可分的有關(guān)美學(xué)各方面的觀點逐一羅列出來。他首先肯定現(xiàn)實世界中是不存在美的,所謂自然美與社會美的說法在他看來是荒謬的,他認(rèn)為真正的美只存在于藝術(shù)世界中,而創(chuàng)作者和欣賞者只有通過想象才能實現(xiàn)對現(xiàn)實世界的超越,才能真正把握到美,獲得審美享受。 可以說,薩特以自由和想象為中心的美學(xué)思想,并不是以客觀的現(xiàn)實世界為根據(jù)的,但這并不能說明薩特關(guān)于美的觀點是脫離實際的,事實上薩特在后期勇敢地對自身理論進行了修正,利用文學(xué)主動介入到現(xiàn)實生活中,去揭示現(xiàn)實、超越現(xiàn)實、改造現(xiàn)實。這種理論上的轉(zhuǎn)變表面上看是從一個極端跳向另一個極端,而事實上卻是有其內(nèi)在邏輯的。在本文中我們將以薩特的想象理論作為切入點,對其自由哲學(xué)、美學(xué)觀點、藝術(shù)創(chuàng)作論、審美接受理論、文學(xué)本體論、文學(xué)介入觀以及前后期理論的微妙轉(zhuǎn)變進行關(guān)照,進而對薩特美學(xué)有一個更加全面的了解。
[Abstract]:Jean Paul Sartre is the greatest philosopher in the 20th century in the West. His existentialist philosophy advocated the concept of freedom and humanitarianism. In philosophy, Sartre, from phenomenology, gives back the power of his own destiny to man and his free will. The essence of man is freedom, and therefore he is a self-made being distinguished from the free world. In Sartre's view, human consciousness is not only a passive reaction to the real world, but also can realize negation and transcendence actively, and the object of freedom consciousness is often the existence of nothingness and absence. As a result, Sartre raised imagination to an unprecedented height in the aesthetic world based on the existentialist theory of freedom. He first criticized the previous imagination theory and summed up the four characteristics of imagination as a kind of free consciousness in essence: intentionality false negativity and spontaneity and then completely distinguished from perception. After clarifying the nature and characteristics of imagination, Sartre gradually began to open the scroll of his aesthetics and list the views of all aspects of aesthetics, which are closely related to imagination. First of all, he affirmed that there is no beauty in the real world. The so-called beauty of nature and the beauty of society are absurd to him, and he thinks that the real beauty only exists in the world of art. Only through imagination can creators and appreciators transcend the real world, grasp beauty and gain aesthetic enjoyment. It can be said that Sartre's aesthetic thought centered on freedom and imagination is not based on the objective real world, but it does not mean that Sartre's view of beauty is divorced from reality. In fact Sartre bravely revised his own theory in his later period and used literature to intervene in real life to reveal reality transcend reality and transform reality. This theoretical shift appears to jump from one extreme to the other, but in fact has its own logic. In this paper, we will take Sartre's theory of imagination as the starting point to take care of his liberal philosophy, aesthetic viewpoint, artistic creation theory, aesthetic reception theory, literary ontology, literary intervention view and the subtle changes of his theory in the past and later periods. Then there is a more comprehensive understanding of Sartre's aesthetics.
【學(xué)位授予單位】：黑龍江大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：B83-0
本文編號：2402952
[Abstract]:Jean Paul Sartre is the greatest philosopher in the 20th century in the West. His existentialist philosophy advocated the concept of freedom and humanitarianism. In philosophy, Sartre, from phenomenology, gives back the power of his own destiny to man and his free will. The essence of man is freedom, and therefore he is a self-made being distinguished from the free world. In Sartre's view, human consciousness is not only a passive reaction to the real world, but also can realize negation and transcendence actively, and the object of freedom consciousness is often the existence of nothingness and absence. As a result, Sartre raised imagination to an unprecedented height in the aesthetic world based on the existentialist theory of freedom. He first criticized the previous imagination theory and summed up the four characteristics of imagination as a kind of free consciousness in essence: intentionality false negativity and spontaneity and then completely distinguished from perception. After clarifying the nature and characteristics of imagination, Sartre gradually began to open the scroll of his aesthetics and list the views of all aspects of aesthetics, which are closely related to imagination. First of all, he affirmed that there is no beauty in the real world. The so-called beauty of nature and the beauty of society are absurd to him, and he thinks that the real beauty only exists in the world of art. Only through imagination can creators and appreciators transcend the real world, grasp beauty and gain aesthetic enjoyment. It can be said that Sartre's aesthetic thought centered on freedom and imagination is not based on the objective real world, but it does not mean that Sartre's view of beauty is divorced from reality. In fact Sartre bravely revised his own theory in his later period and used literature to intervene in real life to reveal reality transcend reality and transform reality. This theoretical shift appears to jump from one extreme to the other, but in fact has its own logic. In this paper, we will take Sartre's theory of imagination as the starting point to take care of his liberal philosophy, aesthetic viewpoint, artistic creation theory, aesthetic reception theory, literary ontology, literary intervention view and the subtle changes of his theory in the past and later periods. Then there is a more comprehensive understanding of Sartre's aesthetics.
【學(xué)位授予單位】：黑龍江大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：B83-0
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