The Study On Space Aesthetics Of Chinese Classical Love Narration

In the traditional diffusion path from home to country to the world,the construction of "home" is the core proposition,which is embodied not only in cognition but also in body,sensibility and lust.Classical love narration is not only restricted by traditional family culture and gender culture,but also challenged and reflected by the aesthetic way of imaginary imagination.In the past,the academic circles usually study the classical love narration from the perspectives of character,emotional nature,marriage system and cognition,but do not pay enough attention to the material practice level.In recent years,the theory of space is rising gradually,which provides a new perspective for the study of classical love narration.Based on the theory of space,this paper studies the aesthetic relationship between space and illicit love affairs in Chinese classical love narrative,discusses the aesthetic form contained in it.This article consists of four parts: Love,space and narrative literature(the first chapter),the narrative space of classical love(second chapters),the love narrative art in gender space(third chapters)and the space aesthetic form of classical love(the fourth chapter).The first chapter mainly deals with the inner relationship between space,classical love and literary writing,and paves the way for later research.Therefore,considering the relationship between men and women in the process of secularization,this chapter examines the social and cultural significance of men's and women's emotions,especially private love.Traditional gender culture was based on space isolation between men and women,which had become an important way for the construction of "family" and even the whole dynasty.The construction of family was reflected in gender,age,and other aspects,which ended up at the level of space training.In ancient times,people of different identities and gender acted in specific space according to their social relations with others.Classical love narrative was not only influenced by traditional gender and space culture,but also a challenge to traditional gender and space culture.It was not only the representation and reflection of the relationship between men and women in social reality,but also the rewriting and imagination of the relationship between men and women in social reality.The second chapter mainly studies the narrative space in classical love stories.Narrative space is actually the space constructed and written in classical love narrative texts,rather than social reality space.It is not a recollection of social reality space,though the writing of narrative space is based on the cognition mode of social reality space.According to the spatial form and its function in narration,this paper divides the narrative space into two categories: living space and flowing space.The former is represented by home,the latter is represented by boat and car.The most direct embodiment of living space is the ontological meaning of human existence,but it is just for being provoked or broken in classical love narration.Only when living space no longer plays the role of spatial isolation in gender culture,but becomes an active means to stimulate and delay the sexual desire of men and women,it has aesthetic significance.The mobile space not only provides an opportunity for the love of men and women,but also reinvents and transforms the beauty of silence in traditional wanderers' poetry or love poems.The aesthetic style changed from moving to provoking.The third chapter studies the classical love narrative art in gender space,which is carried out from three levels: narrator,narrative perspective and body narrative.The narrator of classical love narration focuses on auditory sense with the core of The relationship between listening and speaking instead of relationship between writing and reading,which has formed three types of narrators: recorders,orators and utopian illusionist.The narrative perspective of classical love narrative has gender spatial characteristics.The barrier of gender space influences the viewpoint of classical love narration,which has formed three types of perspective: omniscient narrative perspective,psychological perspective and limited view of men.Because of the barrier of space,the body narration by means of dress adornment has become an important way of classical love narration.Based on the dialectical relationship between elegance and vulgarity,the fourth chapter excavates the three aesthetic forms in the classical love narrative: Space-singularity aesthetics,space-yearning aesthetics,space – taste aesthetics.The division of the three kinds of spatial aesthetics includes both historical investigation and combing,and synchronic induction and summary.The exploration,breakout and even breakout of traditional gender space constitutes the core of space-singularity aesthetics in the classical love narrative,which has formed a strange aesthetic phenomenon that transcends everyday life.Space-yearning aesthetics turned cross-border into an aesthetic object from tools of love affair.Loop structure of”spanning but not crossing” adapted to the need to express yearning feeling brought by space barriers.Cross-border yearning esthetics broke artistic conception esthetics with the characteristic of mixture of feeling and scene in Tang and Song Poetry,created a new form of aesthetics which expresses the principle of human feeling.Space – taste aesthetics takes scholar beauty novels as the representative,and has become the elegant aesthetic construction of elite scholar bureaucrats in the process of secularization.Classical love based on spatial gender segregation has actually become a form of life for ancient Chinese people.As a form of life,Gender spatial segregation,family establishment and aesthetic imagination of love have created the nature of love: China's unique temperance,implication and warmth.The combination of the love of men and women with the parents' wish is actually the historical experience of the development and evolution of the love narrative in ancient China.