摘要
从古希腊开始,西方人就从"迷狂说"入手,将艺术创作看成是宣泄内心情感的手段和渠道,于是便有了死尸满台的悲剧、狂放不羁的舞蹈、声嘶力竭的摇滚、人欲横流的电影等。这种感性欲望的宣泄,不仅强化了艺术创作中的激情与活力,而且可以纠正理性思辨行为所导致的精神异化,因而具有一定的人道主义意义;但与此同时,也会带来感官刺激的极端性发展,进而陷入肉体欲望的误区。不了解感性迷狂在艺术中的正面作用,就不可能真正理解西方艺术的美学特色;不了解感性迷狂在艺术中的负面影响,就不可能彻底反思西方艺术所存在的问题。而所有这一切,都必须从感性与理性相分裂的民族心理结构说起。
Ever since ancient Greece, the Western people began to regard artistic creation as means or channels to let off their hidden feelings, thus appeared their tragedies full of corpses on the stage , their profligate and unrestrained dances, their hoarse and exhausted rock and roll, and their films with unbri- dled indulgence of human desires and passions, and so on and so forth The catharsis of sensuous feelings not only intensifies the passion and vitality in art creation, but also corrects spiritual alienation caused by rational speculation, thus bearing certain meaning of humanism. But, meanwhile, it brings about exces- sive development of sensuous incitement, and lead to impasse of corporeal senses. One cannot understand the aesthetic characteristics of the Western arts without understanding the positive effects of their sensuous craziness whereas one cannot rethink its problems thoroughly without knowing the negative effect of sensu- ous craziness. And all of this should begin with ethical mental structure with the fission of sensuousness and rationality.
出处
《山东师范大学学报（人文社会科学版）》
2015年第3期12-20,共9页
Journal of Shandong Normal University(Humanities and Social Sciences)
基金
作者主持研究的教育部人文社会科学重点研究基地重大课题"文明的结构与艺术的功能"(07JJD751079)的阶段性成果
关键词
西方
美学
艺术
感性
迷狂
Western
aesthetics
art
sensuousness
craziness
