论文标题:怪诞与崇高的统一
The Union of the Grotesque and the Sublime
论文作者
论文导师 蒲度戎,论文学位 硕士,论文专业 英语语言文学
论文单位 重庆大学,点击次数 108,论文页数 46页File Size1852K
2006-04-13论文网 http://www.lw23.com/lunwen_91589207/
Aestheticism; Identity Crisis; Art; Morality; Grotesque; Sublimity
本文运用怪异美学分析了世纪末唯美主义文学思潮中，奥斯卡·王尔德在长篇小说《道连·格雷的画像》中所展示出来的美的独特气质。在狂欢诗学理论中，怪诞是狂欢丑角美学中最重要的方面。运用这种独特的审美视角，艺术家在小丑式边缘人身份和形体变形的感性认识基础上，发掘出了一种极致的美。这种形式上的美并与其蕴含的崇高的思想品质相结合，超越了传统的古典的美。王尔德则是唯美主义思潮中这种极致美的杰出代表。他的这种审美观与他的生存困境相联系。他在边缘人身份危机的困惑中，不断寻求着自身定位，他的心性引导他寻找新的自我实现的方法。应时而生的唯美主义则为他提供了一种最高品质的生活空间。反映在作品中的美，在体现人物生活的画面中产生情感漂移甚至意象变形，同时在思想道德层次上却具有了一种崇高的品质。从美学观上考虑，难以使思想道德保持在从属的地位上。王尔德设法使明显的道德从属于艺术和戏剧效果。他在《道连·格雷的画像》中力图说明作为艺术题材来表现完美艺术的道德：真正的道德在于所有的节制还是所有的放纵，都会使其遭到惩罚，即灵与肉必须和谐统一，才能实现完美的艺术之美。无论是节制还是放纵，都是变化中的自我在心性的引导下试图保持一个更新的自我。天平的指针在保持自我和我为自己两者之间滑动。自我不是永恒不变的，而是在更高层次上受到死亡和毁灭的惩罚。保持自我意味着毁灭自身。画像一词具有多重含义，指的不仅是他的作品《道连·格雷的画像》，或者故事中道连的肖像画，更是他的重现艺术的人生。王尔德的自我形象在《道连·格雷的画像》中由“个他”转化成“他们”，使自我显像多层次化，延伸了自我价值的寓意，并从中看到了幻觉与幻灭的二元性的怪异本质。在自我变形的身份戏剧性结构和自我认识的终极目的结构中，王尔德使他的艺术之美达到了超越纯粹之美的巅峰。这是一种超越了古典美的极致之美——怪诞与崇高的统一，实现了思维时代对形式的梦想。
This thesis makes use of grotesque aesthetics to analyze the particular beauty that is displayed in Oscar Wilde"s novel The Picture of Dorian Gray. Bakhtin considered the grotesque as the most important aspect of the aesthetics of clown in carnival theory. Thus from this particular aesthetic angle, artists can discover an ultimate beauty on the basis of the perceptual cognition of the verging figure and metamorphosis. This kind of beauty is closely linked to its inner sublime quality beyond the traditional beauty. Wilde was just the outstanding representative of this delicate beauty in the movement of Aestheticism. His aesthetic views were related to the dilemma of his existence and he always searched for his orientation in identity crisis; his mind guided him to seek a new way to realize himself. At that time, Aestheticism provided him with a kind of noblest existential space. So the beauty that was reflected in his writings, brought about an emotional excursion or even the metamorphosis of images in the life of the characters, and it was possessed of a kind of characteristics of sublimity in ideological level. In consideration of aesthetic views, it is hard to keep morality in a subordinate status. So Wilde tried his best to make the obvious morality dependent on the effects of art and drama. He wanted to show the perfect art through morality which was only treated as the artistic materials in The Picture of Dorian Gray. He thought the moral was that, all excess as well as all renunciation, brought its own punishment; that is to say, only the harmonious unity of soul and body can realize the perfect beauty of art. No matter what the excess or the renunciation is, it influences the construction of self, and the mind guides the self to keep a certain refreshing ones in change. Self is not immortal, but to be punished by death and destruction in a higher level. Keeping self means to ruin self. In Wilde"s novel, the word "picture" has different meanings, it not only refers to Wilde"s works The Picture of Dorian Gray, or Dorian"s portrait in the story, but also suggests Wilde"s life which rehearses his art. In the story, Wilde"s individual image is transferred from "he" to "they", which made the image of "self multiplied and extended the moral of self-value, from which Wilde saw the grotesque essence between illusion and disillusion. From the structure of dramatic identity of self-metamorphosis and ultimate intention of self-understanding, Wilde upgraded his beauty of art for the art"s sake, and made it surpass the classic beauty which was originated from the nature and the life. It is a delicate beauty—the union of the grotesque and the sublime, through which Wilde
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