【摘要】： 荒誕,是二十世紀西方美學(xué)的一個重要范疇,也是人類的一種精神現(xiàn)象。它是西方社會中處于異化狀態(tài)中的人的一種生存方式。當主體處于這種生存方式中的時候,就會產(chǎn)生一種“意義之虛無”的感受。而這種感受,或者說是體驗,就是一種荒誕感,它既是主體在人與世界分離之后所產(chǎn)生的焦慮感和空虛感,也是他們在物的壓迫與精神信仰的坍塌之后所產(chǎn)生的陌生感和迷惘感。當然,荒誕表現(xiàn)“意義的虛無”,并不表示荒誕本身存在的荒誕性。作為一種美學(xué)范疇,荒誕的目的是指向人生,喚醒人們對自身生存價值的意識和對人自身生存意義的思考。因此,荒誕不是一種消極的藝術(shù),而是表面的消極與深層的積極完美結(jié)合的美學(xué)范疇。 經(jīng)歷了兩次世界大戰(zhàn)的洗禮,讓西方人崇尚的理性遭到了嚴重的質(zhì)疑:在西方社會出現(xiàn)了繼“上帝死了”之后的又一次信仰危機。西方人的精神支柱坍塌后,精神上出現(xiàn)了空前的饑餓狀態(tài),正是在這種情況下,西方現(xiàn)代美學(xué)范疇意義上的荒誕才得以產(chǎn)生并發(fā)展�；恼Q的主體正是那些喪失了人的本質(zhì)和人的個性的異化的人,正是在這些人身上我們看到了荒誕的世界和荒誕的人生。 就西方社會生存方式的一種普遍現(xiàn)象而言,“荒誕”是二十世紀的西方歷史語境中的一個獨特現(xiàn)象。從表現(xiàn)主義到存在主義,從荒誕派戲劇再到黑色幽默小說,荒誕都是貫穿其中的主題。二十世紀,人與世界、人與人、甚至人與自身都處在一種極不和諧的狀態(tài)之中。內(nèi)心的恐懼不安、孤獨無助、苦悶彷徨是一種難以言說的感覺。戰(zhàn)爭過后留給世人的精神空虛是一種難以克制的痛苦。人們突然發(fā)現(xiàn),自己的最大痛苦并不是必定死亡的命運,而是在求生不得、求死不能的生死線上艱難而徒勞的掙扎。而荒誕正是把這種感覺用一種特殊的手法表現(xiàn)了出來。荒誕的藝術(shù)是一種“離經(jīng)叛道”的藝術(shù),它的出現(xiàn)是對傳統(tǒng)的公然背叛和對“經(jīng)典”的公然宣戰(zhàn)。這是因為,相對于傳統(tǒng)藝術(shù),無論從思想內(nèi)容上還是從藝術(shù)形式上,荒誕都是一種反抗和顛覆:內(nèi)容主題上的神圣、莊嚴、優(yōu)美被低俗、調(diào)侃和丑陋所取代,藝術(shù)手法上的懸念、渲染也被平鋪直敘所代替。傳統(tǒng)的悲劇、喜劇的定義在這里找到了它們的終點站,當悲劇主人公以滑稽的表演展示在我們面前的時候,我們欲哭無淚,欲笑無聲。我們的心靈在荒誕的獨特藝術(shù)表達方式中受到了前所未有的沖擊。 表現(xiàn)荒誕的藝術(shù)作品表面上給人的感覺是平淡的、乏味的,甚至是脫離實際的,然而這卻是一種審美的曲折表現(xiàn)形態(tài),它以病態(tài)、異態(tài)、怪態(tài)來表現(xiàn)常態(tài)。它要求
[Abstract]:Absurdity is not only an important category of western aesthetics in the 20th century, but also a spiritual phenomenon of human beings. It is a way of living for the people in the alienation state in the western society. When the subject is in this way of existence, there will be a sense of nothingness of meaning. And this feeling, or experience, is a sense of absurdity, which is not only the anxiety and emptiness of the subject after the separation of man and the world, It is also their strangeness and confusion after the oppression of things and the collapse of their spiritual beliefs. Of course, absurd expression "meaning nihilism" does not mean the absurdity of the existence of absurdity itself. As an aesthetic category, the purpose of absurdity is to point to life, to awaken people's awareness of their own survival value and to think about their own survival significance. Therefore, absurdity is not a negative art, but an aesthetic category in which superficial negativity and deep-seated positive and perfect combination. After the baptism of two world wars, the reason which westerners admire has been seriously questioned: in the western society, there is another faith crisis after "God is dead". After the collapse of the spiritual pillar of Westerners, there is an unprecedented state of hunger in the spirit. It is under this circumstance that the absurdity in the sense of the western modern aesthetic category can be produced and developed. The subject of absurdity is those who have lost the alienation of human nature and personality. It is in these people that we see the absurd world and the absurd life. "absurdity" is a unique phenomenon in the western historical context of the 20th century, as far as a universal phenomenon of the way of existence in the western society is concerned. From expressionism to existentialism, from absurd drama to black humorous novels, absurdity is the theme that runs through it. In the 20th century, man and the world, man and man, and even man and himself were in a state of great disharmony. Fear and unease in the heart, loneliness and helplessness are an unspeakable feeling. The spiritual emptiness left after the war was an uncontrollable pain. People suddenly found that their greatest pain is not necessarily the fate of death, but in the struggle for life and death can not die on the line of difficult and futile struggle. Absurdity shows this feeling in a special way. Absurd art is an art of deviating from scripture and treason. Its appearance is a flagrant betrayal of tradition and a public declaration of war on classic. This is because, in contrast to traditional art, absurdity is a revolt and subversion, both in terms of ideological content and artistic form: the sacred, solemn, graceful nature of the content subject is replaced by vulgarity, ridicule, and ugliness. Artistic techniques of suspense, rendering is also replaced by tiling straight. Traditional tragedies, comedy definitions find their end here, when the tragic protagonists show in front of us with a funny performance, we want to cry without tears, want to laugh silent. Our hearts have been hit by an unprecedented impact in the unique artistic expression of absurdity. The expression of absurd works of art on the surface of the feeling is dull, boring, even out of reality, but this is an aesthetic tortuous form of expression, it is morbid, strange, strange state to express the normal. It requires
【學(xué)位授予單位】：遼寧大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：I01

【引證文獻】

相關(guān)碩士學(xué)位論文 前2條

1 張旭;殘酷的人生表演，荒謬的生存圖景[D];吉林大學(xué);2011年

2 佘永強;論卡夫卡小說主題中蘊含的荒誕[D];湖南師范大學(xué);2011年

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本文編號：2445432