全国2014年4月高等教育自学考试美学真题及答案

全国2014年4月高等教育自学考试美学真题及答案
全国2014年4月高等教育自学考试美学真题及答案

全国2014年4月高等教育自学考试

美学试题

一、单项选择题(本大题共20小题,每小题1分,共20分)

在每小题列出的四个备选项中只有一个是符合题目要求的,请将其选出并将“答题纸”

的相应代码涂黑。错涂、多涂或未涂均无分。

1.鲍姆加登认为美学是(A )1-22A.感性学B.理性学C.逻辑学D.艺术学2.黑格尔认为美学的研究对象应该是( D )1-2A.美的规律B.审美经验C.审美活动D.艺术3.美学发展的第一阶段是( B )1-18A.审美想象B.审美意识C.审美现象 D.审美经验4.克罗齐的“艺术即直觉”说体现的艺术观是(C )5-278A.游戏说B.符号说C.表现说D.巫术说5.艺术的最高追求和目标应是(C )5-299A.创造有意境的世界B.创造有意象的世界C.创造有意境的意象世界D.创造有意象的意境世界6.鲁迅的作品批判了落后的国民性,这反映了艺术的( A )5-301A.思想启迪功能B.政治宣传功能C.社会干预功能D.道德教育功能7.艺术品结构中的核心层次是( B )5-288A.意境超验层B.意象世界层C.物质实在层D.形式符号层8..孕育意象需要艺术家具备(D )6-312A.“潇洒”的精神状态B.“豁达”的精神状态C.“宽容”的精神状态D.“虚静”的精神状态9.艺术敏感主要是指艺术家的( D )6-316A.表现力B.理解力C.判断力D.感悟力10.夏夫兹博里把人类天生就具有的分辨善恶和美丑的能力归结于( C )4-208A.视觉器官B.听觉器官C.内在感官D.外在感官11.把审美经验说成是“观审活动”的美学家是( D )4-211A.克罗齐B.柏格森C.狄尔泰D.叔本华12.《荀子·乐论》云:“以道制欲,则乐而不乱。”就审美经验而言,这句话说的是( C )4-251A.感知和想象的关系B.想象和情感的关系C.情感和理智的关系D.想象和理智的关系13.审美活动是无功利性和有功利性的辩证统一,因此审美活动又是( A )2-59A.自律性和他律性的统一B.个体性和社会性的统一C.主观性和客观性的统一D.形式因和内容因的统一14.审美体验具有整体性、集中性和(C )2-76A.抽象性B.概括性C.具体性D.间接性15.审美形态是多种因素的统一,其中核心的因素是(B )3-119A.审美情趣B.人生境界C.审美风格D.天地境界16.最早被人类认识和把握的审美形态是( A )3-138A.优美B.崇高C.悲剧D.喜剧17.荒诞引起的笑(D )3-189A.是对旧事物的讽刺B.是对自己的信心和自豪C.是充满希望的肯定D.是一种无望的否定18.首先提出“审美教育”概念的西方美学家是( C )7-344A.康德 B.黑格尔C.席勒D.叔本华19.荀子所谓“化性起伪”中的“伪”是指( D )7-374A.虚伪矫饰 B.私意人欲C.自然本质D.精神境界20.美育的最高目的是培养(D )7-383A.具有艺术创造力的人B.全面发展的人C.具有高尚人格的人D.具有敏锐感受力的人、

二、多项选择题(本大题共5小题,每小题2分,共10分)

在每小题列出的五个备选项中至少有两个是符合题目要求的,请将其选出并将“答题纸”

的相应代码涂黑。错涂、多涂、少涂或未涂均无分。

21.审美关系中主体对客体的把握方式主要是(CDE )1-36A.逻辑思辨B.理性认识C.感性直观D.情感体验E.自由想象22.灵感现象的主要特点是(ABCD )6-320A.精神昂奋B.注意力集中C.情绪激动D.想象力活跃E.判断力准确23.审美经验中涉及的高级想象形式包括(DE )4-239A.接近联想B.对比联想C.类似联想D.再造性想象E.创造性想象24.原始形态的审美意识具有(ABD )2-106A.具体性中的抽象性B.蒙昧性中的真实性C.直观性中的逻辑性D.神秘性中的创造性E.虚幻性中的科学性25.蔡元培倡导“以美育代宗教”的依据主要有(ACE )7-346A.美育是自由的,而宗教是强制的B.美育是有趣的,而宗教是枯燥的C.美育是进步的,而宗教是保守的D.美育是中国的,而宗教是西方的E.美育是普及的,而宗教是有界的

三、名词解释题(本大题共4小题,26、27小题每题3分,28、29小题每题4分,共14

分)

26.载道说(5-279 )答:载道说,较早可追溯到孔子;而唐代文学家、哲学家韩愈则加以完善。他认为,古文是为了宣传儒道而存在的,并非是为了缘情。将文置之于道的约束下,先道而后文,猛烈地抨击了无情而故意以矫情为文的风气,这在当时是有积极意义的,但完全摒弃

文的缘情作用,仅仅突出文的政治教化作用,显然不符合艺术的发展规律,也是片面的。27.化育(7-369-370)答:美育是一种潜移默化的“化育” ,而不是一种强制性的“教育” ,是通过怡情养性的途径,使主体在感化中,经过审美,深入“人心” ,从而陶冶主体的精神境界,完善自我的人格。

28.优美(3-138)答:优美是理性内容与感性形式、理想与现实、个体与社会及自然、

自由与自在、主观的合目的性与客观的合规律性的和谐统一。

29.审美距离说(4-264)答:所谓审美距离是由瑞士美学家布洛提出的一个审美心理学概念,指的是主体在审美活动中必须与对象保持一定的心理距离

四、简答题(本大题共5小题,每小题6分,共30分)

30.简述审美活动作为人生活动的独特之处。(1-47)答:审美活动是一种独特的人生活

动,它之独特性不仅在于与求真、求善活动不同,而且在于:(1)以“感性”的方式最为丰

富、全面地触及人生的真相,打动人的心灵;(2)不仅如此,它还提升人,在审美活动中,

生活在片面性中、异化状态中的人得到了解放,人的本质力量得到了揭示,随着审美境界

的获得与递进,人的生命境界也得到了提高。

31.简述审美感知的基本特征。(4-236-237)答:(1)审美感知作为审美经验的一种构

成要素,当然具有自己不同于一般感知活动的特点。审美感知总是与情感活动紧紧地交织

在一起。(2)审美感知具有积极的选择能力。感知活动虽然处于心理经验的基础层面,但

却不是一种被动的接受行为,相反,它能够积极地对对象的属性作出自己的选择。(3)审

美感知总是以完形的方式来把握对象的,因而具有整体性的特点。

32.简析艺术的核心功能。(5-302)答:审美是艺术最核心的功能。(1)艺术的首要功能是审美。(2)艺术的多元功能须通过审美功能间接实现。

33.为什么不能把美育等同于人格教育?(7-353、357) 答:(1)美育教育与人格教育相辅相成,互相促进,二者实际上是美育与德育的关系;(2)美育与人格教育不能混为一谈。美育是动之以情,是以情感人;人格教育则是晓之以理,以理服人;(3)美育具有一种内在情感的自觉性,人格教育则是具有外在道德的约束性。

34.简述悲剧的基本特征。(3-162-163) 答:悲剧作为审美形态,所体现的主要特征有:(1)悲剧通过对人生存在的否定性体验,从而展现对人生存在价值的肯定。(2)悲剧的审美冲突体现的是人与自然、社会及自身存在的冲突和超越。(3)悲剧的情感体验是一种人生实践存在的深层体验。

五、论述题(本大题共2小题,每小题13分,共26分)

35.结合具体的文艺创作实例,论述意象的生产。(6-313-314 )答:(1)意象的从无到有就是要将主体在酝酿中的隐藏在深层潜意识的意义明晰化,把散漫的、不可把握的感觉整合为一个完整的整体。这个整体就是艺术意象的整体。(2)意象的从无到有,还在于意象的意义内容在“无”的运动中最终获得外在形式符号,转变为“有” 。意象并不仅仅是一种意义,它包括意义和意义存在的时空(象)。(3)意象的从无到有,没有物态化与物化的实在形式(即艺术品)是不可能实现的。这在抽象艺术中尤能深切感受到。艺术意象的完成常与艺术品的形式符号及传媒质料有关。(4)艺术意象的创造和艺术品的完成,实质上

也是一种生产。艺术意象的创造就是一种生产。意象的生成也是一种生产过程。

36.郑板桥论画云:“江馆清秋,晨起看竹,烟光、日影、露气,皆浮动于疏枝密叶之间。胸中勃勃,遂有画意。其实胸中之竹,并非眼中之竹也”。结合这段话论述审美对象的非实体性。(2-88-89) 答:任何审美对象都不能离开一定的感性客体,而且这种感性客体本身还必须具备某种审美价值,但是,审美对象却并不直接地就等于这种感性客体。审美对象不仅不是一种物质实体,而且它也不是精神性的实体。它只是物质与精神、客观与主观相互渗透从而熔铸成的一种独特意象,审美对象就存在于审美主体对具备一定审美价值属性的客观事物独特的观照和体验之中。

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