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明代中后期,当中国封建经济发展到一个新的历史关头时,新的文化风气开始萌动。“心学”的发展使人们越来越超脱理学的桎酷与压抑,转向对人性中本能欲望,自我情感的肯定并追求个性自由,追求自然本色的人生。这种倡导复苏,追求个性自由的审美趣味影响着人们的深层意识,以至不少文人学者把它作为自己的人生理想,出现了一批所谓“狂人”,而汤显祖就是其中的一个。他的“至情”之说在其《牡丹亭》中显现的淋漓尽致。本文应用弗洛伊德的精神分析理论分析《牡丹亭》这部作品,旨在通过这部作品来探究中晚明时期的审美文化的特点并进一步挖掘此时期审美文化中的感性资源!
In the middle and late Ming Dynasty, when the Chinese feudal economy developed to a new historical moment, the new cultural atmosphere began to sprout. The development of “psychology” makes people get more and more out of the arrogance and repression of science. It turns to the affirmation of instinctive desire and self-emotion in human nature and the pursuit of individual freedom and the pursuit of a natural life. This kind of advocacy recovery, the pursuit of individual freedom of aesthetic taste affects people’s deep awareness, as many scholars and scholars regard it as their own life ideal, there have been a number of so-called “madman”, and Tang Xianzu is one of them. His “fairy tale” is vividly shown in his “Peony Pavilion.” This article uses Freud’s theory of psychoanalysis to analyze The Peony Pavilion, which aims to explore the characteristics of aesthetic culture in the late Ming and the Ming Dynasties through this work and to further explore the perceptual resources of the aesthetic culture in this period.