古希腊时期的文艺思想.pptx

u the basic principles of Ancient Greek literary thoughtuPlato and his literary thoughtu Aristotle and his literary thoughtInternetAdvertisingInternetAdvertisingContentsInternetAdvertisingInternetAdvertisingBackground informationlPhilosophy,Aesthetics,and literary thought are closely connectedlThe literary thoughts are mainly on two issues:The relation between society and art(literature)The social functions of artlWestern literary theory began in the age of Plato and AristotlePlatouprofileuPhilosophical,political thoughtuLiterary theoryProfileClassical Greek philosopherFounder of objective idealismFounder of the Academy in Athens(the first institution of higher learning in the Western world)Teacher:SocratesStudent:AristotleAlong with them,Plato helped to lay the foundations of natural philosophy,science,and Western philosophyWorks:35 dialogues and 13 letters (Socratic dialogues),esp.The RepublicInfluenced by Pythagoras(毕达哥拉斯),Parmenides(巴门尼德),Heraclitus(赫拉克利特),Socrates(苏格拉底)毕达哥拉斯的“理性神秘主义”无论是解说外在物质世界，还是描写内在精神世界，都不能没有数学，万事万物背后都有数的法则在起作用的 秘密结社，这个社团里有男有女，地位一律平等，一切财产都归公有。社团的组织纪律很严密，甚至带有浓厚的宗教色彩。每个学员都要在学术上达到一定的水平，加入组织还要经历一系列神秘的仪式，以求达到“心灵的净化”。毕达哥拉斯宣传理性神学，用理性的数来论证神秘主义 数学与神学的结合开始于毕达哥拉斯，它代表了希腊的、中世纪的以及直迄康德为止的近代的宗教哲学的特征。毕达哥拉斯以前的奥尔弗斯教义类似于亚洲的神秘教。柏拉图身上也有着一种宗教与推理的密切交织，一种道德的追求与对于不具时间性的事物之逻辑的崇拜的密切交织；理智化了的神学赫拉克利特的“逻各斯”毕达哥拉斯学派认为万物的本原是数，它们的存在和变化都根据一定的数的比率关系，整个宇宙就是按一定的数的比例组成的有秩序的科斯摩斯。赫拉克利特用“逻各斯”这样一个简单的概念将毕达哥拉斯学派的思想完美地表达出来。在这点上，赫拉克利特和毕达哥拉斯学派的思想是根本一致的。不满足于寻求万物的本原，而是开始要寻求隐藏在现象背后的带有规律性的东西。他们开始发现了数量上的比例关系，也就是逻各斯。巴门尼德的“感性世界是假相”活动于公元前6世纪末前5世纪中叶以后，鼎盛期约当公元前五世纪上半叶。他受克塞诺芬尼关于神是不动的的“一”的理论影响，依靠抽象形象，从感性世界概括出最一般的范畴“存在”。认为存在是永恒的，是一，连续不可分；存在是不动的，是真实的，可以被思想；感性世界的具体事物是非存在，是假相，不能被思想。他认为，没有存在之外的思想，被思想的东西和思想的目标是同一的。他第一次提出了“思想与存在是同一的”命题。精神导师苏格拉底心灵的转向灵魂不灭说寻求事物的普遍定义苏格拉底反诘法（Socratic irony）Nearly all Platos works were written under the form of dialogue with Socratic ironyPhilosophy:form,the theory of Ideal 理式论Metaphysics 形而上学worldFormIntelligible world;real worldNo perfect shadowWorld that we feelFormThe Form of the GoodOther FormsShapeOriginHorse in the conceptVision of LovePlatonic LoveThe combination of flesh is no pure but dirtyLove and sexual passion are two opposed statusIf a person is really in love with sb,he will never think of having sex with that personSame-sex loveThe love between men is a combination of spirit,because men can hardly find their spiritual competitor among women理式论是其哲学体系的核心理式论是其哲学体系的核心理式：理念、观念、理型、模式，是柏拉图构想的一个理式：理念、观念、理型、模式，是柏拉图构想的一个境界；境界；理式是实体，思想中的理式世界永恒不变，绝对存在；理式是实体，思想中的理式世界永恒不变，绝对存在；理式是万物的原型，万物是它的摹本理式是万物的原型，万物是它的摹本床的例子床的例子理式世界第一性、现实世界第二性、艺术世界第三性理式世界第一性、现实世界第二性、艺术世界第三性价值：第一次自觉到必须用普遍作为说明一切个别的根价值：第一次自觉到必须用普遍作为说明一切个别的根据，以朴素的方式提出了自然规律和社会规律问题，使据，以朴素的方式提出了自然规律和社会规律问题，使人类对世界的认识超越原始思维阶段；是人类哲学史上人类对世界的认识超越原始思维阶段；是人类哲学史上的一个里程碑的一个里程碑 柏拉图哲学思想柏拉图哲学思想Platos AestheticsArt,mostly represented by poetry,is closer to a greatest evil than any other phenomenon Plato speaks of,while beauty is close to a greatest good.beauty,imitation,inspiration his view of beauty in Hippias Major reflectsBeauty possesses the reality that Forms have and is known by means of the same dialectic that brings other Forms to light.Socrates wants Hippias to explain the property that is known when any examples of beauty are known(essence of beauty),the cause of all occurrences of beauty,and more precisely the cause not of the appearance of beauty but of its real being(286d,287c,289d,292c,294e,297b).Beauty is not just any Form.It bears some close relationship to the good(296d),even though Socrates argues that the two are distinct(296e ff.,303e ff.).It is therefore a Form of some status above that of other Forms.Socrates and Hippias appeal to artworks as examples of beautiful things but do not treat those examples as the central cases(290ab,297e298a).So too generally Plato conducts his inquiry into beauty at a distance from his discussion of art.The Republic contains several tokens of Platos reluctance to associate poetry with beauty.The dialogues first discussion of poetry,whose context is education,censors poems that corrupt the young(377b398b).Then almost immediately Socrates is speaking of cultivating a fondness for beauty among the young guardians.Their taste for beauty will help them prefer noble deeds over ugly vulgar ones(401bd,403c).理式论是柏拉图美的本体论的哲学基础：理式论是柏拉图美的本体论的哲学基础：美不是具有美的属性的具体事物、美不是具有美的属性的具体事物、不是使事物显得美的质料或形式、不是使事物显得美的质料或形式、不是某种物质或精神上的满足、不是某种物质或精神上的满足、不是恰当、有用或有益、不是恰当、有用或有益、不是由视听引起的快感不是由视听引起的快感 而是超出美的事物之上的一种性质、比任何质料而是超出美的事物之上的一种性质、比任何质料或形式更具有概括性的一种性质、比任何物质或或形式更具有概括性的一种性质、比任何物质或精神满足更持久稳定的一种东西，是与人的欲求精神满足更持久稳定的一种东西，是与人的欲求相关而有超乎其外的一种东西、是与人的快感相相关而有超乎其外的一种东西、是与人的快感相连而又超乎其上的连而又超乎其上的 柏拉图美学思想：大希庇阿斯篇柏拉图美学思想：大希庇阿斯篇“回忆说回忆说”是柏拉图美的认识论的哲学基础：是柏拉图美的认识论的哲学基础：人的灵魂是不朽的人的灵魂是不朽的人的灵魂在理式世界是自由而有知的人的灵魂在理式世界是自由而有知的一旦转生为人，灵魂就进入了肉体的牢笼便失去一旦转生为人，灵魂就进入了肉体的牢笼便失去了自由，把原来知道的知识遗忘了了自由，把原来知道的知识遗忘了要重新获得知识，就必须超越、摆脱一切现实物要重新获得知识，就必须超越、摆脱一切现实物质生活的干扰，闭目塞听，冥思苦想，努力去回质生活的干扰，闭目塞听，冥思苦想，努力去回忆自己灵魂原来对于理念世界的认识忆自己灵魂原来对于理念世界的认识 柏拉图美学思想：大希庇阿斯篇柏拉图美学思想：大希庇阿斯篇The creation of art:Divine Inspirationpoets are not in control of their own writing.At lucky moments a god takes them over and brings value to the poem that it could not have had otherwise.When the poet sits on the Muses tripod en ti tripodi ts Mouss he is not in his right mind emphrn but ready to flow like a fountain;and because his profession techn is that of imitation mimses,then in creating people anthrpous who are set against one another he is compelled to contradict himself frequently,and he does not know oiden whether these or the other thing of what he says are true alth.But it is not for a lawmaker to make two statements about a single topic in a law.(719cd)Art and universeArt,mostly represented by poetry,is closer to a greatest evil than any other phenomenonImitation:Ideal,form,Point of view“Imitation”is the commonest English translation of mimsis.Alternatives include“representation”and“emulation.”betray the truthThe theme/subject of poetry:it does not stress on the law and reason of mankind but emotionbetray the virtueThe function of arts：poetrys role in the curriculum for the citys guardian classPolitical thought:UtopiaRules or Philosopher KingsWarriors or GuardiansWorkersChest;SpiritHead;ReasonAbdomen;AppetiteTripartite class structure 柏拉图的文艺理论柏拉图的文艺理论柏拉图艺术论的核心：柏拉图艺术论的核心：灵感与模仿、灵感诗与模仿诗的区别，使诗摆脱技艺的束缚而获得自由，使艺术的本质回归于诗艺术的本质：模仿与灵感艺术的本质：模仿与灵感 imitation(mimesis)艺术世界只是“摹本的摹本”、“影子的影子”、“和真理隔着三层”，永远低于现实世界，更低于理式世界。文艺复兴、启蒙运动、浪漫主义文艺运动继承并发扬了这一思想，对“理式”进行重新的阐释：理想，由此发展为文艺要表现理想的理论灵感说：灵感说：文学作品的创作归结于神赐迷狂神把灵感输送给诗人，诗人又把灵感传给无数听众、读者文艺有不同等级，高尚的文艺是神赐的，低劣的文艺是模仿的艺术的审美特性：魔力与浸润心灵艺术的审美特性：魔力与浸润心灵艺术对人的灵魂能产生潜移默化的影响，诗的真正和最终目的在于影响和塑造人的灵魂，从而使世界走向完美InternetAdvertisingInternetAdvertising艺术的社会功用：有益与规范艺术的社会功用：有益与规范艺术要有益于城邦，要合乎城邦制定的规范文艺的社会作用只能激起人的情欲、使人卑劣，应该把诗人逐出“理想国”柏拉图区分灵感与模仿、灵感诗与模仿诗，拼命把诗从“艺术”中拉出来，使诗获得独立InternetAdvertisingInternetAdvertising朗基努斯：论崇高受迷狂说启示朗基努斯：论崇高受迷狂说启示新柏拉图主义、普罗提诺：太一理论新柏拉图主义、普罗提诺：太一理论浪漫主义运动：天才、情感、想象三大口号浪漫主义运动：天才、情感、想象三大口号叔本华：艺术是关于理式的叔本华：艺术是关于理式的尼采：酒神精神知识尼采：酒神精神知识柏拉图对后世的影响柏拉图对后世的影响InternetAdvertisingInternetAdvertisingnThe overview of the personnthe methodology of his PoeticsnThe theory of tragedy in PoeticsAristotle and his PoeticsOverview of the personAristotle is a towering figure in ancient Greek philosophy,through creating a comprehensive system of Western philosophy,encompassing morality and aesthetics,logic and science,politics and metaphysics,he makes contributions to logic,metaphysics,mathematics,physics,biology,botany,ethics,politics,agriculture,medicine,dance and theatre.He was a student of Plato who in turn studied under Socrates，and teacher of Alexander the Great.Together with Plato and Socrates(Platos teacher),Aristotle is one of the most important founding figures in Western philosophy.He was more empirically-minded than Plato or Socrates and is famous for rejecting Platos theory of forms.His view on“form”Aristotle famously rejected Platos theory of forms,which states that properties such as beauty are abstract universal entities that exist independent of the objects themselves.Instead,he argued that forms are intrinsic to the objects and cannot exist apart from them,and so must be studied in relation to them.What is artArt is defined by Aristotle as the realization in external form of a true idea,and is traced back to that natural love of imitation which characterizes humans,and to the pleasure which we feel in recognizing likenesses.Art however is not limited to mere copying.It idealizes nature and completes its deficiencies:it seeks to grasp the universal type in the individual phenomenon.The distinction therefore between poetic art and history is not that the one uses meter,and the other does not.The distinction is that while history is limited to what has actually happened,poetry depicts things in their universal character.Therefore,“poetry is more philosophical and more elevated than history.”Such imitation may represent people either as better or as worse than people usually are,or it may neither go beyond nor fall below the average standard.Comedy is the imitation of the worse examples of humanity,understood however not in the sense of absolute badness,but only in so far as what is low and ignoble enters into what is laughable and comic.InternetAdvertisingInternetAdvertising艺术与现实的关系：模仿说艺术与现实的关系：模仿说提出艺术模仿的是“行动中的人”，实际上是以现实的人生为艺术模仿的对象，把传统的模仿说提到了现实主义的高度模仿的本质在于通过个别表现一般，通过特殊表现普遍，它不仅反映现实世界的个别表面现象，而且揭示生活的内在本质和规律，因而艺术比普通的生活更高更真实更美艺术的本质就在于通过特殊体表现普遍相，达到真实性艺术的社会作用艺术的社会作用理性是神圣的，是人性中最好的部分，情感对人也是有益的，如悲剧就能陶冶人的情感艺术能认识真理，反映必然和普遍性，引起怜悯与恐惧之情形式和技巧本身都可以表现出美，给人以美的享受把必然律和可然律引入形式美，使审美和认识相联系，形式被内容所规定每一种艺术和科学的研究都旨在求得某种善诗学的戏剧观诗学的戏剧观诗学不但深刻论述了艺术的本质和意义，还建立诗学不但深刻论述了艺术的本质和意义，还建立了一套完整的悲剧理论、悲剧规则，是古希腊唯一有了一套完整的悲剧理论、悲剧规则，是古希腊唯一有系统的戏剧理论、戏剧规则著作，也是欧洲戏剧理论、系统的戏剧理论、戏剧规则著作，也是欧洲戏剧理论、戏剧规则的奠基之作。戏剧规则的奠基之作。The definition of tragedyCh.6 A tragedy is an imitation of an action that is serious and has a wholeness in its extent,in language that is pleasing(though in distinct ways in its different parts),enacted rather than narrated,culminating,by means of pity and fear,in the cleansing of these passions So tragedy is an imitation not of people,but of action,life,and happiness or unhappiness,while happiness and unhappiness have their being in activity,and come to completion not in a quality but in some sort of action Therefore it is deeds and the story that are the end at which tragedy aims,and in all things the end is what matters most So the source that governs tragedy in the way that the soul governs life is the story.悲剧定义：是对于一个严肃、完整、有一定长度的行动的模仿；它的悲剧定义：是对于一个严肃、完整、有一定长度的行动的模仿；它的媒介是语言，具有各种悦耳之音，分别在剧的各部分使用；模仿方式媒介是语言，具有各种悦耳之音，分别在剧的各部分使用；模仿方式是借人物的动作来表达，而不是采用叙述法，借引起怜悯与恐惧来使是借人物的动作来表达，而不是采用叙述法，借引起怜悯与恐惧来使这种情感得到陶冶这种情感得到陶冶悲剧的性质、悲剧的模仿媒介、悲剧的模仿方式、悲剧的艺术效果悲剧的性质、悲剧的模仿媒介、悲剧的模仿方式、悲剧的艺术效果What is extended wholeAn extended whole is that which has a beginning,middle and end.But a beginning is something which,in itself,does not need to be after anything else,while something else naturally is the case or comes about after it;and an end is its contrary,something which in itself is of such a nature as to be after something else,either necessarily or for the most part,but to have nothing else after it-It is therefore needful that wellput-together stories not begin from just anywhere at random,nor end just anywhere at random And beauty resides in size and order the oneness and wholeness of the beautiful thing being present all at once in contemplation in stories,just as in human organizations and in living things.tragedy is an imitation of actionCh.9 Now tragedy is an imitation not only of a complete action,but also of objects of fear and pity,and these arise most of all when events happen contrary to expectation but in consequence of one another;for in this way they will have more wonder in them than if they happened by chance or by fortune,since even among things that happen by chance,the greatest sense of wonder is from those that seem to have happened by design.悲剧的特性：对行动的模仿悲剧的特性：对行动的模仿严肃：以追求善和至善为目的完整：戏剧模仿的行动有矛盾的开端、发展、结局，三部分之间有内在的必然联系，是一个有机整体有一定长度：情节的长度和厚度一个行动：悲剧情节的进程和结局是单一的The contentChs.13-14 Since it is peculiar to tragedy to be an imitation of actions arousing pity and fear and since the former concerns someone who is undeserving of suffering and the latter concerns someone like us the story that works well must depict a change from good to bad fortune,resulting not from badness one that arises from the actions themselves,the astonishment coming about through things that are likely,as in the Oedipus of Sophocles.A revelation,as the word indicates,is a change from ignorance to knowledge,that produces either friendship or hatred in people marked out for good or bad fortune.The most beautiful of revelations occurs when reversals of condition come about at the same time,as is the case in the Oedipus.悲剧的主角：过失说悲剧的主角：过失说 主角首先是善良的人，但因犯了过失而陷入厄运wonderWonder needs to be produced in tragedies,but in the epic there is more room for that which confounds reason,by means of which wonder comes about most of all,since in the epic one does not see the person who performs the action;the events surrounding the pursuit of Hector would seem ridiculous if they were on stage But wonder is sweet And Homer most of all has taught the rest of us how one ought to speak of what is untrue One ought to choose likely impossibilities in preference to unconvincing possibilities And if a poet has,represented impossible things,then he has missed the mark,but that is the right thing to do if he thereby hits the mark that is the end of the poetic art itself,that is,if in that way he makes that or some other part more wondrous.KatharsisClarification(澄清)，purification(使纯净),purgation(净化)It is fitted by portraying events which excite fear and pity in the mind of the observer to purify or purge these feelings and extend and regulate their sympathy.It is thus a homeopathic curing of the passions.Insofar as art in general universalizes particular events,tragedy,in depicting passionate and critical situations,takes the observer outside the selfish and individual standpoint,and views them in connection with the general lot of human beings.This is similar to Aristotles explanation of the use of orgiastic music in the worship of Bacchas and other deities:it affords an outlet for religious fervor and thus steadies ones religious sentiments.providing an opportunity for the cathartic release of unhealthy feelings rather than encouraging their development.so the literary arts have a direct benefit to human society.This provides no grounds for a Platonic notion of censorship of the arts.悲剧的作用：陶冶说悲剧的作用：陶冶说引起怜悯与恐惧之情，使人们的思想感情得到陶冶（Katharsis），在恐惧与怜悯中获得求知的快感，从而强化心灵，形成中允平和的适度激情和行动，把人引到最高尚的方向亚里士多德文艺思想亚里士多德文艺思想诗学、修辞学创立了一个关于史诗和戏剧，尤其是悲剧的理论体系：以作品本身为中心，着重解剖文学作品的构成，分析作品各种因素和成分，探索情节、人物、场景的统一，区分悲剧、喜剧、史诗等不同文学类型的特点肯定文学模仿现实世界，诗人按照或然律和必然律来模仿世界，描述可能发生或应该发生的事，因而能在特殊中见普遍，偶然中见必然，合情而又合理文学能使人的内心“净化”而导致心境的平静，使人产生快感，获得精神享受作品是个有机整体，而非构成因素的简单总和，因而它大于部分相加之和A study case of Poetics Poetry as Imitation The Character of Tragedy Tragic Catharsis Tragic Pity Tragic Fear and the Image of Humanity Tragic Wonder InternetAdvertisingInterne