中國(guó)新時(shí)期審美現(xiàn)代性問(wèn)題討論的述評(píng)與反思
發(fā)布時(shí)間：2019-01-05 16:05
【摘要】：從上世紀(jì)80年代中后期始,審美現(xiàn)代性理論已經(jīng)過(guò)了近三十年的發(fā)展,凝聚了較為深厚的歷史內(nèi)涵。本文旨在考查新時(shí)期審美現(xiàn)代性理論的興起、討論重點(diǎn)、意義與局限,為以后的審美現(xiàn)代性建設(shè)提供一些參考意見(jiàn)。 第一章對(duì)中西方不同語(yǔ)境下的審美現(xiàn)代性做了考查。在西方,現(xiàn)代意義上的“現(xiàn)代性”是從18世紀(jì)啟蒙運(yùn)動(dòng)開(kāi)始的,強(qiáng)調(diào)自由、理性和個(gè)人利益。在此基礎(chǔ)上對(duì)“審美現(xiàn)代性”做出闡釋,并對(duì)美學(xué)現(xiàn)代性和審美現(xiàn)代性做出區(qū)分：前者是從美學(xué)領(lǐng)域談現(xiàn)代性,后者是個(gè)充滿悖反的復(fù)雜存在,更側(cè)重反思和批判視角。在中國(guó)語(yǔ)境,本文回顧了20世紀(jì)初王國(guó)維、蔡元培、梁?jiǎn)⒊热顺珜?dǎo)的審美啟蒙,反思了建國(guó)后的政治論美學(xué),認(rèn)為直到新時(shí)期審美現(xiàn)代性理論才嶄露頭角。 第二章評(píng)述了新時(shí)期的審美現(xiàn)代性理論。新時(shí)期審美現(xiàn)代性是在審美獨(dú)立意識(shí)的呼喚、中國(guó)社會(huì)現(xiàn)代化進(jìn)程的激發(fā)和西方審美現(xiàn)代性理論的影響等多種因素共同作用下興起的,共經(jīng)歷了三個(gè)階段:1986-1996年的再度萌芽階段,1997-2002年的高速發(fā)展階段,2003年至今的穩(wěn)步發(fā)展階段。這期間,學(xué)界的討論焦點(diǎn)有中國(guó)有幾種現(xiàn)代性、審美現(xiàn)代性的模式劃分、審美現(xiàn)代性與消費(fèi)主義等幾方面。 第三章就審美現(xiàn)代性的理論貢獻(xiàn)做了分析。審美現(xiàn)代性理論對(duì)人性解放和自由的強(qiáng)調(diào)使美學(xué)由認(rèn)識(shí)論向體驗(yàn)論、生存論轉(zhuǎn)向,對(duì)審美自律的強(qiáng)調(diào)使美學(xué)由過(guò)去的政治傾向向?qū)徝纼A向轉(zhuǎn)變。在文藝學(xué)轉(zhuǎn)型方面,審美現(xiàn)代性理論對(duì)“審美”的強(qiáng)調(diào),科學(xué)地揭示了文藝的審美本質(zhì),彰顯了審美視角的方法論價(jià)值和意義。 第四章探討了新時(shí)期審美現(xiàn)代性理論的局限性。首先,學(xué)者們過(guò)于強(qiáng)調(diào)審美現(xiàn)代性與啟蒙現(xiàn)代性的對(duì)抗、感性和理性的對(duì)抗,單一的審美視角也限制了文藝研究的整體性和框架性。其次,審美現(xiàn)代性理論從西方引進(jìn),在本土化的過(guò)程中顯得語(yǔ)境意識(shí)和問(wèn)題意識(shí)不足。本文主張構(gòu)建一種既立足本土,又借鑒西方的包容的審美現(xiàn)代性,一種既摒棄工具理性,又避免滑向感性至上和頹廢主義的溫和的審美現(xiàn)代性。
[Abstract]:Since the middle and late 1980s, the theory of aesthetic modernity has been developed for nearly 30 years, and has condensed more profound historical connotation. The purpose of this paper is to examine the rise of the theory of aesthetic modernity in the new period, to discuss the key points, significance and limitations, and to provide some references for the construction of aesthetic modernity in the future. The first chapter examines the aesthetic modernity in different contexts of China and the West. In the West, modernity in the modern sense began with the Enlightenment in the 18 th century, emphasizing freedom, reason and personal interests. On this basis, the author interprets "aesthetic modernity", and distinguishes aesthetic modernity from aesthetic modernity: the former talks about modernity from the field of aesthetics, the latter is a complex existence full of contradictions, and focuses more on reflection and critique. In the context of China, this paper reviews the aesthetic enlightenment advocated by Wang Guowei, Cai Yuanpei and Liang Qichao in the early 20th century, reflects on the political aesthetics after the founding of the people's Republic of China, and holds that the theory of aesthetic modernity did not emerge until the new era. The second chapter reviews the theory of aesthetic modernity in the new period. The aesthetic modernity of the new period is rising under the call of the aesthetic independence consciousness, the stimulation of the modernization process of Chinese society and the influence of the western aesthetic modernity theory, etc. It has experienced three stages: from 1986 to 1996, from 1997 to 2002, and steadily from 2003 to present. During this period, there are several kinds of modernity in China, the mode division of aesthetic modernity, aesthetic modernity and consumerism. The third chapter analyzes the theoretical contribution of aesthetic modernity. The emphasis on liberation and freedom of human nature in the theory of aesthetic modernity changes aesthetics from epistemology to experiential theory, existential theory, and aesthetic self-discipline from the political tendency of the past to the aesthetic tendency. In the aspect of literary and art transformation, the emphasis of aesthetic modernity theory on "aesthetics" scientifically reveals the aesthetic essence of literature and art, and highlights the methodological value and significance of aesthetic perspective. Chapter four discusses the limitations of the theory of aesthetic modernity in the new period. First of all, scholars put too much emphasis on the confrontation between aesthetic modernity and enlightenment modernity, the antagonism between sensibility and rationality, and the single aesthetic perspective also restricted the entirety and frame of literary and artistic research. Secondly, the theory of aesthetic modernity was introduced from the west, and appeared to be deficient in context consciousness and problem consciousness in the process of localization. This paper advocates the construction of a kind of aesthetic modernity which is based on the native place and draws lessons from the West. It is a mild aesthetic modernity which both abandons instrumental rationality and avoids slipping to sensual supremacy and decadence.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：B83
本文編號(hào)：2401992
[Abstract]:Since the middle and late 1980s, the theory of aesthetic modernity has been developed for nearly 30 years, and has condensed more profound historical connotation. The purpose of this paper is to examine the rise of the theory of aesthetic modernity in the new period, to discuss the key points, significance and limitations, and to provide some references for the construction of aesthetic modernity in the future. The first chapter examines the aesthetic modernity in different contexts of China and the West. In the West, modernity in the modern sense began with the Enlightenment in the 18 th century, emphasizing freedom, reason and personal interests. On this basis, the author interprets "aesthetic modernity", and distinguishes aesthetic modernity from aesthetic modernity: the former talks about modernity from the field of aesthetics, the latter is a complex existence full of contradictions, and focuses more on reflection and critique. In the context of China, this paper reviews the aesthetic enlightenment advocated by Wang Guowei, Cai Yuanpei and Liang Qichao in the early 20th century, reflects on the political aesthetics after the founding of the people's Republic of China, and holds that the theory of aesthetic modernity did not emerge until the new era. The second chapter reviews the theory of aesthetic modernity in the new period. The aesthetic modernity of the new period is rising under the call of the aesthetic independence consciousness, the stimulation of the modernization process of Chinese society and the influence of the western aesthetic modernity theory, etc. It has experienced three stages: from 1986 to 1996, from 1997 to 2002, and steadily from 2003 to present. During this period, there are several kinds of modernity in China, the mode division of aesthetic modernity, aesthetic modernity and consumerism. The third chapter analyzes the theoretical contribution of aesthetic modernity. The emphasis on liberation and freedom of human nature in the theory of aesthetic modernity changes aesthetics from epistemology to experiential theory, existential theory, and aesthetic self-discipline from the political tendency of the past to the aesthetic tendency. In the aspect of literary and art transformation, the emphasis of aesthetic modernity theory on "aesthetics" scientifically reveals the aesthetic essence of literature and art, and highlights the methodological value and significance of aesthetic perspective. Chapter four discusses the limitations of the theory of aesthetic modernity in the new period. First of all, scholars put too much emphasis on the confrontation between aesthetic modernity and enlightenment modernity, the antagonism between sensibility and rationality, and the single aesthetic perspective also restricted the entirety and frame of literary and artistic research. Secondly, the theory of aesthetic modernity was introduced from the west, and appeared to be deficient in context consciousness and problem consciousness in the process of localization. This paper advocates the construction of a kind of aesthetic modernity which is based on the native place and draws lessons from the West. It is a mild aesthetic modernity which both abandons instrumental rationality and avoids slipping to sensual supremacy and decadence.
【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：B83
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，本文編號(hào)：2401992
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