Literature and Beauty: Looking at Literature from the Perspective of Aesthetics
Literature Appreciation: On How to Appreciate
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As we all know, the most fundamental essence of literature is aesthetics and language. Marx's social structure theory classifies literature as a superstructure, which belongs to social ideology based on economy. If literature is subdivided, it belongs to "aesthetic ideology" in social ideology.
According to the four elements of literature put forward by abrams in Mirror and Lamp —— Romantic Literary Theory and Criticism Tradition, we can deduce five literary concepts. China is an ancient civilization based on "poetry" and orthodoxy, which was handed down from generation to generation from the Book of Songs. China's literary concept has its own characteristics. China used "poetry" to express his ambition, paying more attention to the author's inner feelings. China's ancient poems were influenced by Confucianism. Advocating "Ming Dow" with articles as the carrier is an important feature of ancient literary theory. Wen Xin Diao Long is a classic of China's ancient literary theory, which advocates that "Tao should be based on Ming Dow, and sages should work for Tao". Bai Juyi's theory of "keeping pace with the times" and "keeping pace with things", and Du Fu's theory of "making the monarch Yao and Shun superior, and then making the folk customs simple" and "enlightening from above and enlightening from below". They all attach great importance to the role of education. Speech and ambition are closely related to education.
Literature cannot exist independently. Literature in any period is influenced by the times and many social objective factors. For example, the origin of dragons in China is a primitive tribal struggle. At the beginning, the totem of each tribe was different, and each tribe took an animal as its symbol. When a tribe conquered another tribe, it added a part of its own totem to the totem of its own tribe, and finally formed a dragon pattern, which was handed down as the greatest cultural concept in China. Then the literature at this time will invisibly regard the dragon as one of the most common forms of expression, doping the author's personal feelings and creating works. Dragons are evil in the west.
Another example is the initial exploration of human nature between China and the West. "At the beginning of life, human nature is good." This is the characteristic of China. In the west, people become human because they are tempted, and people are born with original sin. The process of life is the process of atonement. The more thoroughly you atone, the closer you get to God. These are all aspects of the group, with obvious geographical tendency. Other abstractions, such as love across time and space, are human nature, but they are also influenced by different cultures because of different regions. China leveled the world with "filial piety", which is not a concept in the west. In China's "filial piety", the formation of this kind of love is a bottom-up expression of love. The west does not think that children should be "filial", so their explanation of "filial piety" is "sincere feelings for parents"
There is a lot of talk above, which seems to have nothing to do with the aesthetics of literature. Actually, it's not like this. Because literature, as a social ideology, reflects a specific cultural origin. Literature is the "aesthetic ideology" in social ideology, and it is itself an aesthetic process. Beauty comes first, judgment comes second. The formation of beauty restricts the way and angle of trial and the effect of trial.
The extension of beauty is very extensive, and almost any social form can become beauty. It can be concrete or abstract. The focus of literary beauty is "artistic realism". That is, what is commonly called "from life, higher than life".
Our usual creation will capture our feelings, thoughts and actions in life. We can create an environment, an image, a story and an event in order to express some thoughts or feelings in our hearts. Of course, it does not rule out that there are catering creations and moaning without illness in the author group at present. But this is also the aesthetics of literature, just with different values. The most common mistake that novices make is not pandering, but moaning. It is difficult to form words when you see something that touches you a little. These things can be used as writing materials and stored somewhere. I don't mean to dig out the big and deep themes and strange and dangerous plots in life, although it can greatly stimulate readers' reading enthusiasm. After all, the space and time of personal contact are limited, and more often we are faced with only the dribs and drabs of life. Draw meaningful elements from life and express them in your own language. As long as it is true feelings, it will always cause * * *.
The aesthetic process of our literature is the temporary release of the mind. At least in a short time, we need to put aside the actual utility and burden and strive to achieve a pure state. In some creations, the author did not intentionally reach this state, but was involuntarily brought into this state by the mind. So many times, the author's creation is "lonely". One is because we must use "loneliness" to purify things in reality; Second, "loneliness" is a living state of the author. No matter how wild a poet is, he is the purest in his bones. In the poet's view, it is because of his purity that he can get closer to art; In the eyes of the world, the poet's words and deeds may be unreasonable. This is to evaluate the truth of art from a realistic perspective. Being in two different time and space, it is no wonder that some people say that "poets are crazy to see the world, and the world is crazy to see poets".
The aesthetics of literature is not only manifested in creation.
Literature is the art of language, and the fundamental reason why it is different from other arts such as performing arts and shaping arts lies in the language of literature. Language can be extended to a height and breadth that other arts can't reach with broader brushstrokes. We can take every word and deed in our life as the aesthetic object, and we can also take the literary text created by the author as the aesthetic object.
When we take literary texts as aesthetic objects, some people prefer novels, some prefer poems and some prefer prose. This is just different genres, and the emotion contained in the works is the fundamental reason to inspire us.
Advocates of "experience theory" regard literature as a way of communication between authors and readers, and raise this process to the theoretical level of literary concepts. It is the reader's aesthetics that endows the text with life and can truly reflect its value. There are dual aesthetics: one is the author's aesthetic of objectivity, and the other is the reader's aesthetic of the text. Readers' research on works will generally be divided into several levels.
The first level is that readers are completely conquered by the author and led by the nose. Some netizens have a saying about the novel: The ultimate meaning of the novel is to let readers know clearly that it is false, but they are still moved and have nothing to say. Of course, this is only discussed from the perspective of readers being influenced by works. As for the "ultimate meaning", this is a big and wide proposition, which must be supplemented by the theoretical basis of predecessors and is not discussed in this paper. Aesthetics in this sense means that readers do not have their own complete aesthetic concept and are controlled by others.
The second level is that readers should discard the false and retain the true, and discard the rough and retain the essence from the study of works. The pseudo-true rough essence here is only a relative concept. Engels once said that the correctness of science is always relative. What seems right now may be pushed to a wrong or even absurd embarrassing position by future generations. This shows that virtual and real, coarse and fine are relatively unstable consciousness. People have the characteristics of a cluster and like works and ideas that conform to their own thinking habits and ways. What they can't say, but what is said by the works, constitutes the reader's strong thought of seeking common ground. Readers at this level are relatively mature, have their own fixed concepts, and can give full play to "takenism" from their works.
On the third level, readers will comprehensively judge the quality and value of the works as a whole. Taking the internal structure of the text as the starting point, starting from the language, structure, image and meaning, this paper deeply analyzes the internal context of the article, and distinguishes the value and status of the work by combining the literary trend of thought, literary concept, the author's growth environment and background, and the author's creative intention. Readers at this level have profound theoretical knowledge and creative practical experience. Have the standard of judging right and wrong and the ability to judge articles. Such as Jin Shengtan.
In a word, aesthetics is a complicated process, which takes people's cultural knowledge and ideology as the aesthetic subject and gives full play to their subjective initiative, and is the result of the unification of the inner world and the objective world.
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An aesthetic cognitive activity when readers read literary works. Through the medium of language, readers can get concrete feelings and experiences about the artistic images created by literary works, arouse strong reactions in thoughts and feelings, and get aesthetic enjoyment, so as to understand the ideological content contained in literary works, which is literary appreciation. Literature appreciation is an important link for literature to play and realize its social role.
Literature appreciation is a spiritual activity that combines feeling and understanding, emotion and understanding. People's appreciation of literary works begins with the feeling of image. Images act on readers' feelings and feelings, so that readers are infected by art, and gradually realize the ideas contained in them in a subtle way. Readers' understanding of the nature of life revealed by literary works, or their acceptance of writers' creative evaluation, is always inseparable from readers' direct feelings and emotional reactions to the specific life phenomena reflected in works. Abstract thinking and logical judgment divorced from concrete feelings cannot be called literary appreciation. However, it is impossible to deeply understand the meaning of literary works and it is not a real literary appreciation. It is one-sided to exaggerate the role of feelings and feelings in literary appreciation and attribute literary appreciation to an "image intuition" activity that is divorced from rational understanding. It is also one-sided to ignore the role of feelings and feelings in the process of literary appreciation and not understand that the life reflected in literary works must be affirmed and accepted by readers in feelings and feelings in order to be affirmed and accepted rationally. In literary appreciation, feeling and understanding, emotion and cognition are inseparable. This is the basic feature of literary appreciation activities.
Objectivity and subjectivity in literary appreciation are the unity of opposites. Once any literary work is produced, it becomes an objective existence with its objective stipulation. This objective regulation is determined by the artistic image provided by literary works. In the final analysis, readers' imagination and association in appreciation are based on the artistic image and life picture provided by the works. However, readers' appreciation of literary works is not purely objective, passive and negative, but also subjective. Every reader has his own life experiences, standpoints, thoughts, feelings and cultural attainments, so their feelings, experiences and understandings in the process of appreciation are often not exactly the same as those of the writer himself in shaping the image. The same work will often have different or even very different feelings, experiences and understandings among different readers, which will have an incomplete impact. Mr. Lu Xun once pointed out that when reading A Dream of Red Mansions, there are various meanings just because of the reader's eyes: "Scholars see easy things, Taoism sees lewdness, talented people see lingering, revolutionaries see full lines, gossips see palace secrets ..." (Complete Works of Lu Xun, Volume 7, page 4 19). This is the difference caused by the subjectivity of literary appreciation.
In literary appreciation activities, the appreciator must "recreate" the artistic image in his works into his own artistic image. The psychological process of "re-creation" is mainly manifested in imaginative activities and emotional experiences. The imagination and experience of readers are one of the important reasons why the artistic images created by literary works can be seen from small to large, with virtual reality and vivid through form. If the appreciator is not good at positive imagination or lacks necessary life experience, it is impossible to have a deep feeling for the artistic conception of the work, and it is impossible to find meaning and charm in the work. In particular, literature, as a language art, has indirect visualization, unlike plastic arts, performing arts and comprehensive arts, which directly shape visual and auditory images, and requires the imagination and "re-creation" of the appreciator. It requires the appreciator to be good at imagining the artistic image and life realm created by the work through the medium of language, and then understand its ideological content.
Literary appreciation is also a "re-evaluation" of the writer's life that has been evaluated in his works. The writer's subjective evaluation is the evaluation of the objective life combined with his own thoughts and feelings, while the "re-evaluation" of the appreciator is the result of the writer's re-understanding of the reflected life combined with the appreciator's thoughts and feelings. This evaluation may be completely consistent with the author's evaluation, or it may be higher or lower than the author's evaluation; It may violate the author's correct evaluation or correct the author's wrong evaluation. This evaluation is a necessary process for the appreciator to accept or not to accept the ideological content of the work.
There is also a complex and common phenomenon in literary appreciation, that is, "* * * Ming".
"* * * Ming" means that on the basis of "re-creation" and "re-evaluation", the thoughts and feelings of the appreciator are basically the same as those of the author of the work, even harmonious, or similar in some ways, and they love what they love, hate what they hate, and have exchanges of thoughts and feelings. * * * Ming needs to be based on the same or similar thoughts, feelings and psychological experiences. Generally speaking, the author and the appreciator need to have roughly the same or similar class stand, social ideal and life experience, so that * * * will happen. Therefore, the phenomenon of * * * singing decline is largely manifested in the works of writers and appreciators of the same generation and class. But readers' appreciation of literary works of different times and classes also exists. Due to some social and historical reasons, different times and different classes, in addition to the differences of times and classes, at some times and in some cases, there will be some similarities in thoughts and feelings, and there will be some similarities or similarities in some aspects of life or some problems. For example, the progressive writers of the ancient feudal class exposed the darkness of society to varying degrees, reflected the sufferings and struggles of the people, and showed their wishes and demands in twists and turns, which can infect people today and even make them sing. Another example is the noble spiritual character and moral sentiment of the ancients reflected in ancient literary works. Although there is a class side, there is also an inheritance side. Like the patriotism and national integrity of the ancients, it is easy to impress the thoughts and feelings of modern people in similar social environments and arouse * * *. However, it should be pointed out that this * * * is not absolutely consistent, but the unity of contradictions. Because there is always a distance between modern people and ancient people, it is impossible to fit in completely, so modern people usually only have a * * * sound with one aspect of ancient works. It can be * * * with positive factors or * * * with negative factors, which is related to the subjective factors of the viewer. In a word, * * * is an important phenomenon that literary works affect readers' thoughts and feelings and play a social role.
Literary appreciation and literary creation are interdependent and mutually restrictive. The works created by writers provide objects for literary appreciation; However, in order to produce social effects, literary works must be appreciated by readers. Therefore, writers also need to pay attention to the law of literary appreciation and respect readers' aesthetic requirements and artistic interests. At the same time, literary creation has the mission of cultivating and improving readers' appreciation level. Marx pointed out: "The most beautiful □□ is meaningless to an ear that can't distinguish melody, and music is not an object to it." (1844 Economics-Philosophy Manuscript) If the appreciator does not have the aesthetic ability, it is impossible to enjoy the activity. The reader's appreciation level is not only restricted by the social aesthetic consciousness in a certain historical period, but also restricted by the literary works of the object of appreciation. Marx said: "Art creates people who understand art and appreciate beauty." The reader's appreciation level can only be cultivated and developed in the aesthetic activities of appreciating literary works. Therefore, many excellent writers at all times and all over the world should strive to adapt their works to the readers' appreciation level and be easily accepted by readers; At the same time, we should strive to enrich and improve readers' aesthetic ability and artistic interest to meet their growing appreciation needs.