“趣味”的审美化和道德化：现代文学中的趣味主义

发布时间：2018-06-04 10:01

本文选题：趣味 + 审美化　；参考：《西南大学》2017年硕士论文

【摘要】：现代文学对“趣味主义”的命名,包含了“趣味”的审美化和道德化两种演进方式。“趣味”的审美化和道德化以审美的功利关系作为区分标准。本文试图厘清在道德化和审美化演进过程的基础上“趣味”概念,揭示现代文学中“趣味主义”的价值和意义。“趣味”的道德化是批评者站在道德的立场对“趣味文学”进行的价值判断,“道德化”的理论基础便是“文艺与道德”的关系问题。从成仿吾对“趣味主义”的重新命名,到沈从文对“趣味主义”的再次定义,新文学发展过程中对“趣味主义”的自我标榜和再次命名表明“五四”逐渐成为成为现代文学的传统部分甚至是被批判的部分。“趣味主义”的命名作为话语权力运作的策略而实施,“趣味主义”出现的意义不在于命名内容本身的准确与否,而在于“命名”的对象是否能够帮助其实现预定的实际目标。“趣味主义”在成仿吾与沈从文等人的论述中被赋予了诸多的意义,他们的话语方式生产出“趣味”的意义表层,而“五四文学”就被这样一层外衣包裹着,成为与他们对立的文化整体。“趣味”被他们以“革命”与“严肃”两种理论武器重新武装,形成了新的意义结构体,他们试图通过对“五四文学”的批判,超越自身存在的等级空间。“趣味”的审美化探讨的是“趣味”作为重要的美学范畴在现代语境中何以可能的问题,这个可能性最终落实到探讨文学与生活、文学与人生的关系上来。梁启超的“趣味”动力说和乐业观是“趣味”审美化发生论与本质化的重要内容。“趣味”的动力说通过以文学艺术为载体,情感为媒介的动态循环论,形成了趣味本体论与目的论的统一。“趣味主义”的乐业观则表明劳动的无功利性和无目的性是获得趣味的重要要素,劳动的目的就是为了发现劳作中原本的美和趣味。两者共同说明趣味作为生活、劳作、艺术本身的属性,将趣味的审美化扩展到了整个人生实践的范畴,呈现出积极的生命格调和高昂的生命意趣。周作人将“余裕的生活”作为“趣味”产生的发生装置,并且以“昼梦”为方式回忆历史与虚构未来的理想生活图式来反拨现世生活的“干燥”与“苦难”,将日常生活注入追忆、怀念的色彩使其“审美化”,实现蔼理斯所说的“禁欲与纵欲”的调和与新的道德理想的建制。周作人的“趣味主义”表现为以余裕的人生为基础,以生活的余味为追求,与梁启超将趣味视为生活的本质的“趣味主义”形成互补。朱光潜是四十年代对“趣味”问题进行集中探讨的重要代表人物。他以“人生世相”为基础,以培养修养为方式,以“无所为而为的玩索”为生命活动目的,实现“趣味”道德化的理论目标。“趣味”的道德化是朱光潜面对文艺与道德问题的调和方式以及具体表现。
[Abstract]:The modern literature's naming of "interest doctrine" includes two kinds of evolution modes: aesthetic appreciation and moralization of "taste". Aesthetic appreciation and moralization of "interest" are distinguished by the utilitarian relationship of aesthetics. This paper attempts to clarify the concept of "interest" on the basis of the process of moralization and aesthetic evolution, and to reveal the value and significance of "interest doctrine" in modern literature. The moralization of "taste" is the value judgment of "interesting literature" carried out by critics from the standpoint of morality. The theoretical basis of "moralization" is the relationship between "literature and art" and "morality". From Cheng Fangwu's renaming of "interest doctrine" to Shen Congwen's redefinition of "taste doctrine", In the course of the development of new literature, the self-promotion and renaming of "interest doctrine" show that the May 4th Movement has gradually become the traditional part of modern literature and even the part of criticism. The naming of "interest doctrine" is implemented as a strategy of the operation of discourse power. The significance of "interest doctrine" does not lie in the accuracy of the naming content itself, but in whether the object of "naming" can help it achieve its predetermined practical goal. "Taste Doctrine" has been endowed with many meanings in the discourse of Cheng Fangwu and Shen Congwen, whose way of discourse produces the surface layer of meaning of "interest", while "May 4th Literature" is wrapped in such a coat. To become a cultural entity in opposition to them. "interest" was rearmed by them with "revolution" and "seriousness", forming a new meaning structure. They tried to transcend the hierarchy space of their existence by criticizing "May 4th Literature". Aesthetic appreciation of "taste" explores the question of how "interest", as an important aesthetic category, is possible in the modern context. This possibility is finally put into practice in the discussion of the relationship between literature and life, literature and life. Liang Qichao's theory of "interest" and his view of music and work are the important contents of the theory of aesthetic occurrence and essentialization of "interest". The motive theory of "interest" forms the unity of the ontology of interest and the theory of teleology through the theory of dynamic circulation with literature and art as the carrier and emotion as the medium. On the other hand, the idea of "taste doctrine" shows that the non-utilitarian and aimless nature of labor is an important factor to obtain interest, and the purpose of labor is to find out the original beauty and interest in labor. Both of them explain the nature of interest as life, labor and art itself, extending the aesthetic of interest to the whole life practice, showing positive life style and high life interest. Zhou Zuoren uses the "life of abundance" as a mechanism for the occurrence of "fun", and recalls the ideal life schema of history and fictional future in the form of "daydreams" to counter the "dryness" and "suffering" of life in this world. The daily life is infused with recollection and nostalgia to make it "aestheticized", realizing the harmony between abstinence and lust and the establishment of new moral ideal. Zhou Zuoren's "taste doctrine" is based on the rich life and pursues the aftertaste of life, which is complementary to the "interest doctrine" which Liang Qichao regards as the essence of life. Zhu Guangqian is an important representative of "interest" in the 1940s. He takes "life phase" as the foundation, takes the cultivation and accomplishment as the way, regards "the play rope which does not act" as the life activity goal, realizes the "interest" the moral theory goal. The moralization of "interest" is Zhu Guangqian's way of reconciling literary and moral problems and its concrete expression.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I206.6

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