Research On Aesthetic Generation Of Chinese Culture Keyword Yuan (?)

In the context of Chinese culture,yuan(?)is not only a basic emotion and concept,but also a literary genre which has interconnected the author and readers'aesthetic psychology,while has appeared in the sight of literator and literary critics.For the literator,yuan is often considered as negative and harmful living experience which should be avoided or kept away from.While for the latter,yuan becomes a positive aesthetic category which is moving and pleasant.The study of Chinese culture keyword yuan in this thesis mainly focuses on tracing the process of yuan being accepted by literature and literary criticism in the period from Pre-Qin to Wei,Jin,and Southern and Northern Dynasties.The exploration of the emotion of yuan and the concept of yuan by the Pre-Qin's and Han Dynasties' thinkers,not only clarifies the problems(like being fully aware of the causes and negative effects of yuan),identifies the issues(like discussing comprehensively how to stop yuan and the rationality of yuan),but also refines a series of propositions(like utilizing yuan,inciting yuan and The Book of Songs could express resentment),which lays the foundation for the aesthetic generation of yuan.Literary critics in Wei,Jin,and Southern and Northern Dynasties had sprung from the thought of "yuan could be expressed" and they released yuan from negative emotions by revealing the aesthetic category of yuan and turn it into artful and aesthetic experience.In the case of yuan,this is not only an emotional shift from negative to positive,but also an important transition in the whole semantic context of original meaning,derived meaning and regenerative meaning,which also reflects many new changes in the history of Chinese culture,literary history and critical history.This thesis will be divided into five chapters.Chapter One:The cognitive basis of yuan.The understanding and expression of yuan by ancient people in Zhonghua are mainly preserved in the phon-orth-sema connection and the six classics' language use.For the former,by analyzing the form of xiao zhuan and ancient characters,we can find two basis ormation of yuan:"toss and turn" and "kneel down to accept an order".Through the phonological symbol's integration between yuan(?)and yuan word's family,we can find the source of sound and the meaning of grievances and repression.Taking yuan into the sequence of"human-body-mind-state of mind",we can also clarity the differences between yuan and hate,anger,grief,etc.With the view of six classics,The Book of Changes' xiang thinking,The Book of Li and Yue's criterion,The Book of Songs' expression,the Book of History and The Spring and Autumn Annals' recording also jointly laid the thinking foundation and pragmatic orientation of yuan.Chapter Two:Two-dimensional development of yuan.In the context of a hundred schools of thought contend,the framework of discussion on yuan was set up by Confucianism and Taoism,in which case,Confucianism started from the relationship between group and individual,while Taoism began with the relationship between heaven and human.The Pre-Qin Confucianists represented by Confucius built a system on how to talk about yuan.The system covered three level,micro,meso and macro.The main bones of contention were whether people should be allowed to show their yuan and how to show it properly,and thus led to two main issues,pepaying a grudge with kindness or pepaying a grudge with rectitude,and whether the yuan of Shun is different from the yuan in Xiaopan.The Taoists represented by Lao Zi and Zhuang Zi explained yuan by exploring the relationship between human and heaven.Their idea is a deconstruction of Confucian theory on Ren and righteousness,and inherits the wisdom of natural non-action and poetic existence.Chapter Three:The multi-connotations of yuan.Standing in their respective positions,Axial Period thinkers have fully discussed the causes,restraint and incitation of yuan between one and oneself,man and nature,individual and group,one group and other groups,within different contexts.Thanks to the contention of a hundred schools of thought,the hidden natural emotion and conceptual construction of yuan has been fully demonstrated from the debate among different theories of different schools,which involves different aspects like group and individual,human and heaven,universal and distinguishing love,law and emotion,authority and emotion.In particular,it is the propositions of utilizing yuan proposed by Legalists,inciting yuan proposed by Militarists,and The Book of Songs could express resentment proposed by Confucianism that form an unusual thinking and expression pattern which is totally different from the thought of "couldn't express rensentment".Chapter Four focuses on the negative emotion yuan and the proposition of "The Book of Songs could express resentment".With the transformation and promotion of The Book of Songs,the positive aesthetic value of yuan hidden in the stereotype of negative survival experience is gradually revealed.If the proposition is divided into"The Books of Songs" "could express" and "resentment",we will find the emotional context transformation of yuan from negative to positive cannot be separated from the context transformation of The Books of Songs and the practical approach of "could express".From the Pre-Qin Period,Western Han and Eastern Han Dynasties to Wei,Jin,and the Northern and Southern Dynasties,the proposition of "The Books of Songs could express resentment" first changed into "resentment and sting" in Confucian context,then changed into "expressing resentment by poems" in poetics discourse,through the guide of "qun"(?),temporary yuan moves towards "no resentment",and yuan of general sense turns into proposition of "The Books of Songs could express resentment" in poetic context.As for the aesthetic formation of yuan,including two parts of the legitimacy of yuan being human nature and the aesthetic nature of touching people by affections:firstly,the "rectitude" of emotion breaks through the restriction of "harmony" of ethics,then differentiated into two aesthetic styles of masculine rectitude and feminine grace and restraint.Chapter Five mainly discusses talking yuan as an aesthetic category and transforming yuan into a style.From the Han and Wei Dynasties,yuan came into literary history.The former,tracing to the source,emphasizes the factor of yuan in poems from Shang Dynasty to Qin Dynasty;the latter,facing the present,is characterized by creation and works about the topic of yuan emerging in an endless stream.From ratifying the meaning of yuan to literature in the interpretation of titles to naming poems by "yuan",the trend of taking yuan as an aesthetic category rose and prospered.Taking yuan as aesthetic also came into the perspective of criticism history,and was implemented as works about yuan in genre and style.Palace poetry,boudoir-plaint poetry,mournful drama and resentful story are the exclusive styles about yuan.By the resultant construction of ranking criticism,original story criticism,picking sentence criticism and anthology,the aesthetic style of "Grief' and"Resentment" is widely accepted by literary critics,and this marks the establishment of the fashion of taking yuan as an aesthetic category.