“日常生活审美化”的理论困境和可能出路

发布时间：2018-04-28 03:45

本文选题：“日常生活审美化” + “审美日常生活化”　；参考：《河北师范大学》2017年硕士论文

【摘要】：1988年4月,英国学者迈克?费瑟斯通提出了“日常生活审美化”的概念,21世纪初这一概念被引进国内,虽然引起了国内学者的热烈讨论,但是由于未深入到理论层面作深刻的剖析,尤其是错把“日常生活审美化”误读为“审美的日常生活化”,因此“日常生活审美化”研究陷入到理论窠臼中。本文将分为三章从三个维度即“日常生活审美化”的理论困境、理论困境生成之动因、“日常生活审美化”研究的可能出路来具体探讨“日常生活审美化”的理论困境和可能出路。本文除绪论和结语外共包括三个章节:第一章主要是在已取得的研究成果的基础上重新梳理“日常生活审美化”的概念。从“审美化”这一关键词入手反思学者们的研究成果,大致可以将对“审美化”的理解分为四种类型:一是“感性”,认为“日常生活审美化”就是充斥于日常生活当中的各种感性欲望;二是“图像化”,提倡“日常生活审美化”研究的图像学路线,而图像“非现实化”的特征就是“审美化”;三是从波兹曼的《娱乐至死》出发,将“审美化”解读为“娱乐化”;四是从人们消费物之外观形式的角度,将“审美化”解读为“物化”或者“物性”。仔细观察这些研究路线都是从“感性”、“图像”、物的“外观”等字面意义理解“日常生活审美化”,但事实上“日常生活审美化”是审美对日常生活的救赎和升华,而感性、欲望、图像等都是日常生活对审美的亵渎,这其实是“日常生活审美化”的反面“审美的日常生活化”。深入分析,“日常生活审美化”和“审美日常生活化”在价值取向、有无利害、是否自律三个方面均不相同。第二章从语境、理论资源、意识形态三个角度分析“日常生活审美化”理论困境之生成动因。中西方在社会形态上存在着巨大差异,而且由于90年代大众文化的兴起,文学理论也做出了相应的理论转型,如今中国的社会文化形态也截然不同于90年代大众文化、精英文化、主流文化三足鼎立的局面;西方学者是在对现代性反思批判的基础上提出“日常生活审美化”的,现代性造成了艺术与日常生活的严重隔离,因此“日常生活审美化”主张艺术与日常生活的融合。然而国内学者不仅忽视理论自身的批判性,“拿来”般直接对当下国内复杂的社会文化现象做出机械的解释,而且忽视中西方社会形态的差异,这都造成了对“日常生活审美化”的误读;当下意识形态不再局限于国家机器的形式,政治意识形态、消费文化、大众传媒都作为意识形态,影响着人们的日常生活,导致了“审美”的变异。第三章试图寻找“日常生活审美化”研究的可能出路。审美与日常生活的关系在不同时期,即以鲍姆加登为代表的美学创始时期、以康德为代表的古典美学时期、以杜威为代表的现代美学时期都有不同的表现。费瑟斯通在对现代性反思的基础上主张审美与日常生活的融合,而国内学者对“审美日常生活化”的广泛关注使“日常生活审美化”的原义不断地被曲解,因为“审美日常生活化”实际上是审美与日常生活貌合神离的假象。与此同时,审美与功利之间的关系在原始艺术、古典美学、现代美学三个时期也有着不同的表现,然而日常生活不只是形而下的,即衣食住行等人类最基本的物质活动,它也有形而上的精神层面,因此关于“日常生活审美化”的研究应更多地关注审美对日常生活品格的提升,而不是被沦为科技、消费等意识形态的奴隶的日常生活。
[Abstract]:In April 1988, Mike Fisher Stone, a British scholar, proposed the concept of "Aestheticization of daily life". This concept was introduced into the country at the beginning of twenty-first Century, although it caused a heated discussion by domestic scholars, but it was deeply dissect from the theoretical level, especially misreading "daily life aestheticization" as "the daily life of aesthetic life". This paper will be divided into three chapters from three dimensions, namely, the theoretical predicament of the "Aestheticization of daily life", the motivation of the formation of the theoretical predicament, and the possible way out of the study of "daily life aestheticization" to discuss the theoretical predicament and possibility of "daily life aestheticization". In addition to the introduction and conclusion, this article includes three chapters: the first chapter is mainly to re comb the concept of "daily life aestheticization" on the basis of the achievements obtained. From the key words of "Aestheticization", we can rethink the research results of scholars, and can roughly divide the understanding of "aestheticization" into four types: one is "Aestheticization" is "Aestheticization of daily life", which is full of various emotional desires in daily life; two is "iconization", advocating the image course of "Aestheticization of daily life", while the feature of "unrealistic" is "Aestheticization"; three is "Aestheticization" from the "amusement and death" of Boltzmann. The four is to interpret the "Aestheticization" as "materialization" or "materialization" from the perspective of the appearance of the people's consumption objects. The "Aestheticization" of the "daily life" is understood from the literal meaning of "perceptual", "image" and "appearance". "Transformation" is the redemption and sublimation of aesthetic to daily life, and sensibility, desire and image are all the desecration of the daily life to the aesthetic, which is actually the reverse side of "daily life aestheticization", "the daily life of aesthetic". The three aspects are different. The second chapter analyzes the cause of the formation of the theoretical predicament of "daily life aestheticization" from the context, the theoretical resources and the ideology. There are great differences in the social form between China and the West. And because of the rise of mass culture in 90s, the theory of literary theory has also made the corresponding theoretical transformation. The form of social culture is also different from the popular culture, the elite culture and the mainstream culture in 90s. The western scholars put forward the "daily life aestheticization" on the basis of the criticism of modernity, and the modernity caused the serious separation between art and daily life. Therefore, the art of "daily life aestheticization" advocates art and However, the domestic scholars have not only ignored the criticism of the theory itself, but also made a mechanical explanation of the complex social and cultural phenomena in the present country, and ignored the differences between the Chinese and Western society, which all caused the misreading of the "Aestheticization of daily life"; the present ideology is no longer confined to the state. The form of the machine, the political ideology, the consumption culture, the mass media all as ideology, influence people's daily life and lead to the variation of "aesthetic". The third chapter tries to find out the possible way out of the study of "Aestheticization of daily life". The relationship between aesthetics and daily life is in different periods, that is, the aesthetic creation represented by Baumgarten. At the beginning of the period, the classical aesthetic period represented by Kant, the modern aesthetic period represented by Dewey had different manifestations. Stone advocated the integration of aesthetic and daily life on the basis of the reflection on modernity, while the extensive attention of the domestic scholars on "the daily life of aesthetics" made the original meaning of "daily life aestheticization" constantly. At the same time, the relationship between aesthetic and utilitarian is also different in the three periods of primitive art, classical aesthetics and modern aesthetics, but daily life is not just the form, that is, the most basic human beings, such as food and clothing, and so on. As a matter of physical activity, it also has metaphysical spiritual level, so the study of "Aestheticization of daily life" should pay more attention to the improvement of the aesthetic quality of daily life, rather than the daily life of slaves, such as science and technology, consumption and other ideology.

【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：I01

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