1. The influence of phenomenological thought on aesthetics and aesthetic research.
A: Phenomenology is a philosophical trend of thought founded by the German thinker Husserl in the early 20th century. Its basic point of view is that the essential feature of conscious activity is intentionality. Phenomenology mainly studies the internal laws of intentional activities. Hu Haner believes that intentional behavior includes intentional function and intentional object. Intentional object is different from real object, which is composed of consciousness through intentional action. Therefore, conscious activity is not a passive acceptance behavior, but a positive constituent activity.
The Influence of (1) Phenomenology on Aesthetics
The influence of phenomenological thought on aesthetics is mainly reflected in the application of phenomenological viewpoint to the study of aesthetic experience by Polish aesthetician Ingarden and French aesthetician Mikel Dufrenne.
(1) Ingarden distinguishes artistic works from aesthetic objects from Husserl's intentionality theory.
In his view, from the perspective of artistic creation, a work is also an intentional composition, but from the perspective of artistic appreciation, a work of art becomes a real object, and the aesthetic object is formed by the receiver through aesthetic activities and his own aesthetic experience. The reason for this difference is that works of art are schema, so there are many "blanks" and uncertainties. In his view, aesthetic experience is a "compound experience" composed of aesthetic feeling, aesthetic quality and original emotion.
(2) Mikel Dufrenne developed further on the basis of Ingarden's research achievements.
Different from Ingarden's rationalism, Mikel Dufrenne advocates that aesthetics should return to its original "perceptual" meaning, and on this basis, explore the concrete and vivid perceptual experience relationship between man and the world.
Generally speaking, under the influence of phenomenological thoughts, phenomenological aesthetics appeared. The aesthetic empiricism of phenomenological aesthetics not only emphasizes the initiative and enthusiasm of the subject in aesthetic activities, but also avoids the binary thinking mode of the opposition between subject and object to a certain extent, and its ideological value and theoretical significance can not be ignored.
(2) The influence of phenomenological thought on aesthetic research.
The influence of phenomenological thought on aesthetic research is mainly manifested in its grasp of aesthetic objects. It grasps the aesthetic object without deduction of traditional aesthetics or induction of psychological aesthetics, but adopts a special intuition-essential intuition. Phenomenological aesthetic method plays a unique role in analyzing the structure and elements of works and exploring the "blank" left by the "schema aspect" of aesthetic objects. This method has a great influence on the study of western aesthetics, and has led to the emergence of hermeneutic aesthetics and reception aesthetics.
2. Plato's crazy theory
A: (1) "Crazy Theory"
The theory of "ecstasy" is a proposition put forward by Plato, who believes that outstanding poets create by inspiration. The theory of "ecstasy" contains two meanings: first, "god attached", which is the basic connotation of "ecstasy", that is, god attached to ordinary poets to make them create poems that mobilize people; The first is "soul memory", which is more "noble" than "spiritual possession" The soul's pursuit of beauty in Record of the Soul is not out of passive "attachment to the gods", but out of some nostalgia for the beauty of ideas, so it is a conscious soul, which gradually rises in an orderly manner according to the ladder of beauty.
(2) The rationalist position of "Crazy Theory"
Plato's madness theory reveals the source of inspiration and the characteristics of irrationality, which greatly promotes the spirit of irrationality, but it still adheres to the rationalism position under its whole rationalism system. In ancient Greece, fanaticism was often associated with religious witchcraft. Plato followed this concept and thought that the sacred rice grain was a "gift from the gods". In Plato's view, the attachment of the soul to the body is only a temporary phenomenon. In essence, it is an upward effort, trying to escape from the body and soar in the world of the gods in the sky, that is to say,
Eternal and universal "idea" world. If it is attached to the body again, when it joins the world, when things in the world make it vaguely recall the beautiful scene of the "concept" world, the creator is ecstatic and attached to love. However, this state is not the source of losing one's mind and falling into the mire of passion, but the love of reason and ignoring all worldly things make those who are obsessed with worldly happiness say that they are crazy. Therefore, the madness theory is rationalistic in nature.
3. Analyze the concept of "image" in China's ancient literary theory and its value to contemporary art theory.
A: (1) The concept of "image" in China's ancient literary theory.
① the development of "image"
The image theory originated from Zhou Wang's "forgetting the image with pride" in Wei and Jin Dynasties. Later, it was further developed in Sheikh's Six Laws. The vivid charm of Sheikh's six laws advocates that painters should not only express concrete images, but also express "Qi" beyond images, so that works of art have inherent vitality. In addition, Sheikh also put forward the idea of taking images, that is, painters should not stay in limited and isolated images, but should break through this limited image and move from limited to infinite. Later, after the interpretation of critics such as Liu Xie, the "image" was finally transformed into an "image", which contained many provisions such as meaning and image, concealment and beauty, body and bone. In short, image becomes a combination of image and taste. In the Tang Dynasty, "image", as an important aesthetic category, was widely used in poetry. For example, in Si Kongtu's Twenty-four Poems, it is said that "the image is natural and strange".
② the concept of image
Image refers to the image that projects the author's subjective feelings. It is not only an objective image of things, but also an image containing the subject's thoughts and feelings. The bamboo on Zheng Banqiao's chest is not an ordinary bamboo image, but a strong and upright image, not afraid of wind and rain and cold, and not bowing to evil forces. When the image of Hangzi is endowed with such a character, it becomes an image. In short, image is the fusion of "meaning" and "image".
(2) The value of "image" to contemporary art theory.
① The role of images in contemporary film and television theory
Images can be combined with contemporary film and television art theory. By presenting a single image or a combination of multiple images, the national artistic features of the film language are formed, such as Ma Zhiyuan's famous sentence "Tianjingsha Qiu Si": "The old vine is faint and the bridge is flowing, and the west wind is thin and the horse is thin/the sunset/the heartbroken man is at the end of the world". A sentence is equivalent to a shot or a picture, and its combination has the poetic effect of film montage.
② The role of images in contemporary art ontology.
The artistic theory based on "image" can help contemporary art solve the status problem of artistic ontology. This is not only a question of contemporary art theory, but also a question of contemporary cultural theory. Fully absorbing the advantages of China's traditional art theory, such as "image" theory, can help people maintain or create a harmonious relationship between nature, mind and culture. Art and art theory that fully absorbs the advantages of China's traditional art and aesthetics will find a new way out for modern art.
Tiger-seeking literary community
2022/3/27