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《红高粱》的获奖,在国人审美取向上形成了一种多层次、相悖逆的接受实践。知识界的颤慄和默认自不待言,与之相对应的是部分民众痛心疾首的知解和指责。无论如何,我们不可忽视、也不应回避这种“轰动效应”。作为消费主体,观众层次的迅即剥离与感知审美对象的对立立体心态显然富有深意。哄轿的粗放肆恣,野合的酣畅神圣,以及酒神崇拜、人畜宰割、生死礼赞等等,《红高梁》的动态本质意外地融合了知识阶层的审美期待和审美创造。说来并不足怪,中华民族千百年的文化惰性和性格弱点经知识和文明的传衍愈见沉重,知识分子既深知个中三昧,又积聚潜藏
“Red Sorghum” award-winning, in the aesthetic orientation of the people formed a multi-level, contrary to the accepted practice. Thrillers and acquiescence of the intellectual community goes without saying, and corresponds to the bitter knowledge and accusation of some people. In any case, we can not ignore, nor should we evade this “sensational effect.” As the subject of consumption, it is obvious that there is an obvious implication of the prompt separation of the audience level and the perception of opposing stereotypes of the aesthetic objects. The coquettish carousel, the wild and sacred holy wild, as well as the worship of wine gods, the slaughtering of human and animal husbandry, life and death courtesy and so on. The dynamic nature of “red sorghum” unexpectedly integrates the aesthetic expectation and aesthetic creation of the intellectual class. It is no surprise that the cultural inertia and the weakness of the Chinese nation have become more prevalent through the dissemination of knowledge and civilization.