The Heterodoxy Of Aesthetics: Research On The Category Of "Kuang" In Chinese Classical Literary Theory

The cathegory of "Kuang" plays a vital role in the history of Chinese Literature and Literary theory. In Chinese Classical Literary theory, "Kuang" is constantly appeared in the comments on writer's temperament, work's style, work's aesthetics, and producing praess, etc. As a category deviated from the classic Confucian aesthetic doctring, "Kuang" has been depreciated and appeared scarcely in classical literary theories, therefore, caused few attentions. This thesis is trying to sort out the various theories concerning "Kuang", analyze and define it. The whole thesis falls into three parts: introduction, text, and conciusion. Introduction discusses the significance of the topic. The text, analyzed from data analyis and theory summary, is divided into three parts: Part â… , the establishment of "Kuang" category and its development. This part make a diachronic study on "Kuang" category. Firstly, it is filled with connotation and energy for the aspects of linguistic meaning and social cultural development. As a category ,it originally existed in pholosopy of "Dao", holding a position of abnormal category opposite to the doctrine of the "Mean". Along with the development of people's selfconsciousness, the active side of "Kuang" has been developed. Secondly, from literary theory's point of view, "Kuang" was frequently used to describe writers' free and abnormal thoughts and behavious, which brought it a powerful judgement of social moral. In the literary theory of Tang dynasty, "Kuang" changed its style into aesthetics. The "Kuang fang" School of Shi Hua Zong Gui in Song dynasty marked that "Kuang" had got a comparatively independent position in literary theory and became a category in aesthetics. Later on, it got a further development in Ming @ Qing dynasties. Part â…¡, The reflection of "Kuang" in Classical Literary theory. "Kuang" category was scattered and complex in classical literary theories. This part make a summary of it from writer's temperament and work's style, try to discuss its connotation and extension. i, the relationship between "Kuang" and writers. In Chinese classical literary criticism, writer is always the key point. Compare to other categories, "Kuang" has a close relationship whit writers,as in the following aspects: (a)."Kuang" is a common temperament of writers. (b). The "Kuang" of writers can be categoried into "mobid","aggressive" and "dissipated" etc. (c). It has double-standard on the comments of moral and work style. ii, "Kuang" and the creation. Some writers act crazy, intoxicate when they are creating. Actually, this is a expression of their passion of creating. Such creating passion boomed in Tang dynasty and reached the summit in late Ming dynasty. And it has a certain inner relationship with the traditional so-called "sparred" and "complaint" schools. iii, The relationship between "Kuang" and literary works mainly realized in the following three aspects: (a). "Kuang" is a special aesthetic style which is powerful, shows the aesthetic free, and featured by licentionsness, vigorousnors and unrestrainedners etc. (b). Sometimes "Kuang" also means the reform and innovation of literary style. (c). "Kuang" has a corresponding relation with some literary styles, the prominent example is the verses with seven worch withine a line. Part â…¢, The significance of "Kuang" category. "Mean" is the toppest doctrine in Chinese traditional aesthetics. As a deviated aesthetic style, "Kuang" can be used as the complement of "Mean" and play an important role in the development of literature and culture. As the complement of "Mean", "Kuang" enriched the traditional aesthetic categories. In the whole development, "Kuang" is an active componentpushing forward social ideology and culture. In the conclusion, the thesis introduces some other aspects of "Kuang" in classical literary theory, and points out it's further possible development.