审美自律性的历史考察与反思

发布时间：2018-01-12 04:07

本文关键词：审美自律性的历史考察与反思　出处：《复旦大学》2009年博士论文　论文类型：学位论文

【摘要】：审美自律性不是一个自明的概念,它历史地生成并随着时代美学思想的发展而不断扩展其内涵;审美自律性也是一个现代美学概念,它随着美学学科生成并成为审美现代性的一个重要观念。当前关于审美自律性的探讨大多在现代性的视域中展开,一方面审美自律性被当作文化现代性的确证,遭到了来自后现代理论的批判与解构;另一方面,审美自律性也体现了现代性概念的矛盾之处,即审美作为独立的自治领域对表现为工具理性的启蒙现代性有一种拒斥和批判功能。本文通过历史地考察审美自律观念的发展,梳理自律美学的理论资源,试图通过历史的和逻辑的分析来阐明自律性观念的理论内涵和围绕自律性所展开的话语碰撞。论文第一章追溯了审美自律性思想的起源和奠基阶段的相关美学理论。包括作为自律观念源头的英国经验派美学的审美无利害思想,康德对自律美学的全面奠基和席勒对自律美学之自由维度的发展。第二章审美自律观念的发展,主要探讨了十九世纪到二十世纪几种典型的具有自律倾向的美学理论,包括叔本华的非功利的审美静观、克罗奇的直觉的审美感知方式和心理学派布洛的审美距离说以及敏斯特堡的审美孤立说。第三章从美学理论转向审美自律观念在文学艺术创作和批评中的体现,讨论了浪漫主义文学思潮中的自由和天才等观念,唯美主义“为艺术而艺术”的创作思想,以及二十世纪以来强调审美形式和“文学性”的具有形式倾向的批评理论,包括英国形式主义、俄国形式主义和新批评派的美学与批评理论。第四章讨论的是具有现实批判倾向的审美自律理论,或者说半自律的自律论,即法兰克福学派的阿多诺和马尔库塞的审美思想,通过对否定性、审美形式等独特概念的再考察,探讨了审美的自律性与艺术的批判功能相结合的可能性。第五章讨论了反审美自律的理论。审美自律性发展到极端形态所产生的要求绝对自律的无内容的形式主义、割裂与现实联系的高雅艺术等,遭到了各种质疑和批评。这一章把当前对审美自律性的消解和批评归结为三种理论路向,并集中探讨了先锋派理论、实用主义美学和布尔迪厄从社会学角度对审美自律性所做的批评和消解。通过历史考察,第六章总结了审美自律性的内涵,探讨了审美自律性产生的社会历史机制和文化背景;第七章在审美自律性问题的当下语境中展开,探讨了审美自律性与现代性的关系、审美的现代性对启蒙现代性的批判以及在当前语境中审美自律性的理论潜能。结语部分总结了对审美自律性的价值判断:它是一个历史的概念,又是一个逻辑范畴,同时又具有现实指向和当下性。
[Abstract]:Aesthetic self-discipline is not a self-evident concept, it has been generated historically and expanded its connotation with the development of the aesthetic thought of the times. Aesthetic self-discipline is also a modern aesthetic concept, which has become an important concept of aesthetic modernity with the emergence of aesthetic discipline. At present, the discussion of aesthetic self-discipline is mostly carried out from the perspective of modernity. On the one hand, aesthetic self-discipline is regarded as the confirmation of cultural modernity, which is criticized and deconstructed by postmodern theory. On the other hand, aesthetic self-discipline also reflects the contradiction of the concept of modernity. Aesthetic, as an independent autonomous field, has a function of rejecting and criticizing the enlightenment modernity, which is manifested as instrumental rationality. This paper reviews the development of aesthetic self-discipline concept and combs the theoretical resources of self-discipline aesthetics. This paper attempts to clarify the theoretical connotation of the concept of self-discipline and the discourse collision around the concept of self-discipline through historical and logical analysis. The first chapter traces the origin of aesthetic self-discipline and the relevant aesthetic theories in the foundation stage, including the aesthetic non-interest thought of the British empiricist aesthetics, which is the source of the self-discipline concept. Kant laid the foundation of self-discipline aesthetics and Schiller developed the freedom dimension of self-discipline aesthetics. The second chapter discusses the development of aesthetic self-discipline, mainly discusses several typical aesthetic theories with self-discipline tendency from 19th century to 20th century, including Schopenhauer's non-utilitarian aesthetic meditation. Crockett's intuitionistic aesthetic perception style, psychological school's aesthetic distance theory and Minstberg's aesthetic isolation theory. The third chapter, from aesthetic theory to aesthetic self-discipline in literary and artistic creation and criticism, discusses the romantic literary thoughts of freedom and genius and other concepts. Aestheticism "Art for the sake of Art", as well as the aesthetic form and "literary" emphasis on the form of criticism since 20th century, including British formalism. Russian formalism and the Aesthetics and critical Theory of Neo-criticism. Chapter 4th discusses the aesthetic self-discipline theory with realistic critical tendency, or semi-autonomous self-discipline theory, that is, the Frankfurt School of Adorno and Marcuse's aesthetic thoughts, through the negation. This paper discusses the possibility of the combination of aesthetic self-discipline and critical function of art. Chapter 5th discusses the theory of anti-aesthetic self-discipline. The development of aesthetic self-discipline to the extreme form of demand for absolute self-discipline of contentless formalism, separated from the reality of elegant art and so on. In this chapter, the dispel and criticism of aesthetic self-discipline is reduced to three theoretical directions, and the avant-garde theory is discussed in this chapter. Pragmatism Aesthetics and Bourdieu's criticism and deconstruction of Aesthetic Self-discipline from the Perspective of Sociology. Through historical investigation, chapter 6th summarizes the connotation of aesthetic self-discipline, discusses the social historical mechanism and cultural background of aesthetic self-discipline. Chapter 7th, in the current context of aesthetic self-discipline, explores the relationship between aesthetic self-discipline and modernity. Aesthetic modernity criticizes Enlightenment modernity and the theoretical potential of aesthetic self-discipline in the current context. The conclusion summarizes the value judgment of aesthetic self-discipline: it is a historical concept. It is also a logical category, at the same time, it has realistic direction and present nature.
【学位授予单位】：复旦大学
【学位级别】：博士
【学位授予年份】：2009
【分类号】：B83-0

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