The Absorption And Integration Of The Concept Of Stream Of Consciousness In Chinese Art Creation In The 20th Century

At the end of the 19 th century,the psychological term stream of consciousness was widely mentioned and deeply studied in the fields of philosophy,phenomenology,literature and art.At the beginning of the 20 th century,driven by the trend of modernism,the stream of consciousness gradually combined with artistic creation,gradually forming a stream of consciousness concept for artistic creation.In the relevant research at home and abroad,there are no scholars discussing the concept of stream of consciousness within the broad scope of art,which is limited to the level of artistic psychology or a single artistic form,without touching the middle level practice of artistic theory,and lacking the summary of macro artistic theory.This thesis takes the concept of stream of consciousness in China in the 20 th century as the main research object,and studies the concept of stream of consciousness in artistic creation as a fundamental issue in Chinese art.It also conducts research based on the period of the New Culture Movement,the 1930 s,1940s,and 1980 s and 1990 s,systematically sorting out the evolution of stream of consciousness concepts in China,and conducting in-depth analysis of their related artistic creations.The first chapter explores the origin of the stream of consciousness concept.This section briefly discusses the etymology of stream of consciousness,the emergence of stream of consciousness concepts,and Western stream of consciousness creation.It lists the main body consciousness,space view,and time view in stream of consciousness concepts that are similar to traditional Chinese concepts,and explores the potential psychological basis for Chinese artists to accept stream of consciousness concepts.The second chapter discusses the acceptance and attempt of the concept of stream of consciousness in Chinese art creation during the New Culture Movement.Stream of consciousness has been introduced into China through translation of two types of works in psychology and art,providing a theoretical basis for subsequent artistic creation and development.The contradictions,hesitations,and self doubt displayed by Chinese artists during this period provided psychological motivation for the creation of the "stream of consciousness" in China,highlighting artistic attempts in literature and drama.The third chapter proposes the examination and reference of the concept of stream of consciousness in the 1930 s and 1940 s.After a further in-depth understanding of Western stream of consciousness works and a reexamination of their essence and connotation,Chinese artists have generally expressed an attitude of criticizing their creative concepts or affirming creative techniques,and proposed creative orientations such as using stream of consciousness creative techniques,presenting flow of consciousness based on reality,balancing traditional thinking and modern style,advocating the effectiveness of stream of consciousness techniques,and presenting Chinese "stream of consciousness" works inspired by pragmatism.The fourth chapter summarizes the integration of the concept of stream of consciousness with Chinese literary and artistic creation in the 1980 s and 1990 s,specifically manifested in the integration of artistic content into the Chinese environment,such as realistic creation,human emotional experience,and female discourse;The artistic form that integrates Chinese aesthetic habits is characterized by orderly allocation,reasonable association,and the thoughts of healthy people,presenting a localized fusion of the concept of stream of consciousness.