生存论视野下的审美超越问题研究

发布时间：2018-01-05 19:25

本文关键词：生存论视野下的审美超越问题研究　出处：《首都师范大学》2012年博士论文　论文类型：学位论文

【摘要】：审美超越深深植根于人的生存和生存的超越性,因而也是一个历久弥新、言说不尽的话题。古今中外的思想家们对此不乏睿智之思,现代人的生存困境又促使人们重新审视审美的超越性问题。审美超越是一种内在超越和现世的诗意超越,它是对生存的终极关怀,对于理想人格及生命境界的美的追求；它将人类带回到生存的本质,使存在得以澄明,“人生在世”得以诗意般的彰显出来。本论文从生存论的角度探求了审美超越的根据,深入挖掘了审美超越与人的生存以及生存超越之间的本体关联,阐明了审美超越的精神特质和终极旨归,考察了审美超越的维度、相度和心理机制,最后再次回到当下现实,分析了审美超越的现实境遇以及在审美泛化的时代背景下,审美超越精神应该何去何从。通过对审美超越的全方位考察,本论文意在阐明,审美精神本然地具有超越性维度。审美的超越性是植根于人性的自我超越诉求,这一优良传统不应该被遗弃。时代在发展,审美观念在发生改变,审美活动的内容日益丰富,在此,我们回顾历史和传统,回顾审美的哲学之根,返本开新,在变与不变的交锋中,执守人性的价值标尺。论文包括绪论、主体部分和结语。主体部分共分六章。 “绪论”部分考察了论题的时代背景和研究现状。论文首先从宏观的角度分析了现代人精神迷失的生存状态；接着对新时期以来的中国美学界在审美与人的生存和超越问题上的研究作了简要的述评；进而辨析了审美超越与哲学超越和宗教超越等其它超越形式的区别,在此基础上阐明了审美超越的独特内涵和价值取向,最后逐章交代了本文的运思路径。第一章“从实体论到生存论：西方美学的超越精神”考察了从柏拉图到海德格尔的西方哲学在审美超越问题上的观念演变,在此基础上试图阐明在讨论审美超越问题时所应具有的生存论立场。审美超越应当立足于生存论而非实体论,它源于人的生存并归于人的生存,最终落脚为“存在的澄明”和“诗意的栖居”。第二章“从‘艺通于道’到境界的彰显：中国传统哲学中的生存与超越”考察了从先秦到唐宋时期的中国传统文化中的审美超越思想。文章指出,中国文化中的审美超越思想历经了先秦时期的“艺通于道”,魏晋玄学的“体无”,唐宋时期的“妙悟”,最终落脚为“境界”。“境界”作为一种非实体化的存在境域的显现可以和海德格尔的“诗意的栖居”相媲美,从而实现中西美学在审美超越问题上的完美对接。第三章“审美超越与自由”考察审美超越的终极目标和维度。审美超越的终极目标是为了提升个体的生存境界,实现个体的生命自由。这种自由不是认识论意义上的自由,而是生存论意义上的自由。它的实现包含以下三个维度：首先,审美是对日常生活的超越。审美立足于日常生活世界,却又超越了日常生活的增庸性和刻板性,通过日常经验的“陌生化”和日常意识的“中断”,将人类带回到生存的本质,使存在的意义得以澄明。第二,审美足对感性、理性的双重超越。审美作为一种无利害的自由愉悦,既不依附于感官的快乐,也不受制于理性的强迫,因而实现着对感性和理性的双重超越。第三,审美足对主客二分的超越。审美活动不是主体对客体的认识活动,而是主体间的交往与对话。审美主体在一种物我两忘的生命体验中,超越主客的隔阂和狄隘的个体自我意识,而进入“天地与我并生,万物与我为一”的人生大境界,并最终达成个体生命意义的完满和个体精神的自由充实。第四章考察审美超越的相度。审美超越是在对应相度的圆融统一过程中达成的。这种相度圆融包括四种基本形态：一是现实性与理想性的统一,审美超越立足于现实而憧憬理想,关注应然性和可能性,寓审美超越于理想性之中·。二是有限性与无限性的统一,审美超越是在有限中探寻无限,无限存在于有限性之中。三是个体性与社会性的统一,审美活动既立足于个体经验又足对个体经验和个体意识的超越,它是以个体的方式传达对整个人类生存状态的关注。审美的个体性不是超脱于社会之外的,而是包含着社会历史特征,是社会历史的生成物。四是形而下与形而上的统一,审美超越是对形而下的反思和对形而上的追求,关注于形而上的境界创成,根源于对人的存在的终极意义的追问和终极价值的追求。第五章“审美超越与审美体验”考察了审美超越的心理机制。审美超越是种内在超越和自我超越,它不是建基于某种外在于主体的超验之物,而是在主体的体验活动中发生。审美和艺术正是在体验中消泯了主客体的对峙,而达到一种全新的主客体融合的境界。此种融合之所以能得以发生,就在于审美知觉、审美情感、审美想象等多种心理因素的参与和互动。在审美体验活动中,审美知觉、审美情感、审美想象都具有超越的特质和超越之美,而审美主体作为审美知觉、审美情感、审美想象的主体则具有自我超越的潜质和潜能。在此关系域中,审美知觉是审美超越的起点和前提；审美情感是审美超越的引擎和动力；审美想象是审美超越的翅膀。正是在知觉、情感、想象等多种心理因素的交融、重叠、震荡的过程中,审美体验自然而然地发生,同时审美主体也从心理上完成了审美超越。第六章“审美泛化时代的审美超越图景”将审美超越置于大众文化和日常生活审美化的当代语境中,考察审美超越精神的时代困境与出路。在后现代和大众文化的背景下,审美和艺术冲破了传统美学的藩篱,泛化到日常生活中。日常生活被越来越多的艺术品质所充满。然而,审美和艺术在日常生活化的同时,也正日益丧失其精神超越性的维度,沦为感官的即时消费和本能欲望的表达。当此之时,有必要重新强调审美的超越性,以救当代审美文化形而下的感性趋势和物化倾向之流弊。我们在剖析审美泛化的时代现象时,必须秉承批判的精神,认清在审美泛化的表象背后所隐藏的审美的商业化、庸俗化的实质,在批判的反思中重建审美的超越之维。
[Abstract]:Beyond the existence and survival of the aesthetic transcendence is deeply rooted in the people, so it is a timeless topic. Do not speak, thinkers at all times and in all countries no lack of wisdom in thinking, the plight of modern people's life and urges people to re-examine the issue of aesthetic transcendence. Aesthetic transcendence is an inherent poetic transcendence and earthly transcendence and it is the ultimate concern for life, for the ideal personality and life realm of the pursuit of beauty; it will be brought back to the essence of human existence, to clarify, "life" is a poetic manifested. This thesis from the angle of existentialism to explore the aesthetic transcendence to excavate the aesthetic transcendence with the human survival and survival beyond between ontology Association, expounds the spirit of aesthetic transcendence and ultimate purport, examines the aesthetic transcendence dimension, phase degree and psychological mechanism, and finally Back to reality, analyzes the real situation of aesthetic transcendence and background in aesthetic generalization era, aesthetic transcendence should decide on what path to follow. Based on the comprehensive investigation of aesthetic transcendence, this thesis aims to expound the aesthetic spirit, corresponding to the transcendent dimension. Aesthetic transcendence is rooted in humanity's self transcendence, this a good tradition should not be abandoned. In the era of development, aesthetic changes, aesthetic activity is rich in contents here, we review the history and tradition of philosophy, aesthetic review, returning to the new, changed and unchanged in battle, to gauge the value of keep humanity.
The thesis includes the introduction, the main part and the conclusion. The main part of the thesis is divided into six chapters.
The "Introduction" part of the study of the background and research status of the topic. Firstly, analyzed from the macroscopic angle lost the spirit of modern people's living condition; then study on survival and Transcendence of human aesthetic and aesthetic China circles since the new period made a brief review and analysis of the transcendence of aesthetic transcendence; with philosophy and religion and so on other forms beyond the distinction, to clarify the basis of aesthetic transcendence in its unique connotation and value orientation, the last chapter it introduced the thinking path.
The first chapter "from ontology to Existentialism: beyond the spirit of western aesthetics study western philosophy from Platon to Heidegger in the aesthetic transcendence on the concept of evolution, on the basis of trying to clarify in the discussion of aesthetic transcendence problem should have existential aesthetic transcendence. Position should be based on the existential and non entity the survival theory, which originates from human to human survival," eventually settled for the clarification of existence "and" poetic dwelling ".
The second chapter "from the" art on the road to the show: "the realm of existence and Transcendence" Chinese in traditional philosophy was investigated from the Qin Dynasty to the Tang and Song Dynasties China traditional culture aesthetic transcendence in thought. The article points out that the thought of aesthetic transcendence through the pre Qin period "Art to" China culture, Wei and Jin Dynasties "no," the metaphysics of Tang and Song Dynasty "Miaowu", eventually settled for the "realm". "Existence manifest realm" as a non entity and Heidegger's "poetic dwelling" comparable, so as to realize the perfect integration of Chinese and Western Aesthetics in the Aesthetic Transcendence on the issue.
The third chapter is "aesthetic transcendence" and "freedom" of the ultimate goal and the dimension of aesthetic transcendence. The ultimate goal is to enhance the aesthetic realm of life of the individual, the individual freedom of life. This freedom is not in epistemological sense of freedom, but the survival of the sense of freedom. It contains the following three aspects: first that is beyond the aesthetic of daily life aesthetics. Based on the daily life of the world, but beyond the daily life and increase Yong stereotype, through the daily experience of "Defamiliarization" and daily consciousness "interrupt", will be brought back to the essence of human existence, which exists to clarify the meaning of aesthetic. Second. The foot of sensibility, double beyond reason. As a kind of aesthetic pleasure free disinterestedness, neither cling to sensual pleasures, is not subject to the rational force, thus realizing the dual super emotional and rational The third, two points on foot beyond the aesthetic subject. Aesthetic activity is not the subjective cognition activity of the object, communication and dialogue between the main aesthetic subject. But in a two things I forgot the life experience, transcend barriers and di narrow self - consciousness, and enter the day with me and, all things with me for life realm ", and eventually reached the significance of individual life perfect and enrich the freedom of individual spirit.
The fourth chapter examines the aesthetic transcendence of aesthetic transcendence. Is reached in the corresponding phase of the perfect unity. In the process of the degree of harmony includes four basic forms: one is the unity of realism and idealism, aesthetic transcendence based on the reality and the ideal, necessity and possibility of attention, which transcends the aesthetic the ideal of. Two is the unity of finity and infinity, aesthetic transcendence is infinite to explore in the finite, infinite in limited. Three is the unity of individual and social, aesthetic activity is based on individual experience and Transcendence of individual experience and individual consciousness, it is to convey survival the state of the whole human attention to the individual. The individual aesthetic is not detached from the society, but a social and historical characteristics, is a product of social history. Four is the unity and metaphysical, aesthetic is beyond The reflection on form and pursuit for metaphysics focus on the metaphysical realm, which is rooted in the questioning of the ultimate meaning of human existence and the pursuit of ultimate value.
The fifth chapter is "aesthetic transcendence and aesthetic experience" examines the aesthetic transcendence of aesthetic transcendence is a kind of psychological mechanism. Internal transcendence and self transcendence, it is not based on a transcendental subject matter, but in the main experience of the activities. It is in the art and aesthetic experience in the end of the main object of the confrontation as a subject, a new fusion realm. This fusion can happen, lies in the aesthetic consciousness, aesthetic emotion, aesthetic imagination and participation and interaction of a variety of psychological factors. In the aesthetic experience, aesthetic perception, aesthetic emotion, aesthetic imagination is beyond character and beauty, and as aesthetic subject, aesthetic consciousness, aesthetic emotion, aesthetic imagination with self transcendence potentials. This relationship in the field of aesthetic perception is the premise and starting point of aesthetic transcendence; aesthetic emotion Aesthetic imagination is the engine and driving force of aesthetic transcendence. Aesthetic imagination is the wings of aesthetic transcendence. It is the aesthetic experience that occurs naturally in the process of blending, overlapping and concussion, such as perception, emotion, imagination and so on. At the same time, the aesthetic subject also completes the aesthetic transcendence from psychological aspect.
The sixth chapter is "aesthetic transcendence picture" aesthetic generalization era of aesthetic transcendence in popular culture and the aestheticization of daily life in the contemporary context, explores the historical predicament and outlet of aesthetic transcendence spirit. In the modern and popular culture background, aesthetic and artistic aesthetics breaks through the traditional barriers of generalization in the daily life. Everyday life is more and more full of artistic quality. However, aesthetic and art in daily life at the same time, also has lost its spiritual transcendence dimension, expression becomes sensuous instant consumption and instinctive desire. At this time, it is necessary to emphasize the aesthetic transcendence, emotional and physical abuse tendency in order to save the tendency of contemporary aesthetic culture and the US. In the era of phenomenon of aestheticization, must uphold the spirit of criticism, recognize the hidden behind the appearance of the aesthetic aesthetic generalization. The essence of commercialization and vulgarization is to rebuild the dimension of aesthetic transcendence in critical reflection.

【学位授予单位】：首都师范大学
【学位级别】：博士
【学位授予年份】：2012
【分类号】：B83-02

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