审美无功利性命题研究

发布时间：2018-04-01 16:11

本文选题：审美无功利性命题　切入点：西方美学　出处：《郑州大学》2008年硕士论文

【摘要】：审美无功利性命题是在18世纪确立的西方现代美学的核心命题,它既是现代西方美学理论体系的基础和重要传统,也推动了美学学科在18世纪的诞生和独立并对后来的西方美学产生了巨大而深远的影响。审美无功利性命题虽然确立于18世纪,但是18世纪以前西方美学家关于美的理想的思考成果已经为这个命题的出现做好了必要的准备,概括而言有两点:一是人们探讨美的问题的注意力从自然界转移到了社会生活,二是美摆脱了对善和真的依赖而取得了相对独立的地位。西方哲学史上的二元论传统也为审美无功利性命题的提出提供了支持,不过这一命题得以提出的直接思想背景是18世纪人们对经验的重视。审美无功利性命题最早在英国经验派美学家那里被从一个伦理学命题改造成了一个美学命题,并在德国批判哲学家康德那里最终被确定为美学的核心命题,审美不涉及功利也成了西方当代美学的第一原理。作为现代西方美学的核心命题,审美无功利性命题在当代西方美学界遭到了普遍的批判和否定,其原因在于当代西方审美现象出现了两个显著的发展趋向,一是美向社会的生成,表现在日常生活审美化;另一个趋向则是美向自然生成,集中体现在环境美学的兴起。与此同时,艺术的界限也越来越宽、越来越模糊。日常生活审美化要求取消审美与日常生活之间的距离,环境美学家们则主张建立一种支持审美主体更亲近审美客体的美学理论,而艺术界限的模糊则消解了艺术与生活的界限。审美无功利性命题曾促成了审美与日常生活的分裂,审美主体与审美客体之间的距离以及艺术与生活的隔离,在审美与日常生活相融、审美主体与审美客体相亲以及艺术向生活回归的背景下,审美无功利性命题的理论倾向性显得格格不入了。不过,审美无功利性命题并没有完全失效,只要它所表现的理论倾向不指向分裂、孤立、隔离而只是表征一种审美主体对审美客体的适当尊重的话,那它就有与许多批判它的理论进行和解的可能性。本文分三章,第一章主要梳理18世纪以前古希腊时期、古罗马时期以及中世纪到文艺复兴时期关于美的理想与功利关系的思想材料,指出这段时间里为审美无功利性命题的提出和确立准备了哪些条件;第二章主要归纳审美无功利性命题得以被确立的思想背景,梳理它被确立为美学核心命题的理论进程,以及指出这一命题被确立为美学核心命题之后所产生的理论影响;第三章主要考察在美向社会和自然生成以及艺术界限不断模糊的背景下,审美无功利性命题遭到了怎样的批判,指出审美无功利性命题是否还有效以及在何种意义上有效,也即这一命题的当代命运。
[Abstract]:Aesthetic non-utilitarian proposition is the core proposition of western modern aesthetics established in the 18th century. It is the foundation and important tradition of modern western aesthetics theory system. It also promoted the birth and independence of aesthetics in the 18 th century and had a great and profound influence on the later western aesthetics. Although the proposition of aesthetic non-utilitarianism was established in the 18th century, before the 18th century, Western aestheticians' thinking achievements on the ideal of beauty have made the necessary preparations for the emergence of this proposition. To sum up, there are two points: first, the attention of people to the issue of beauty has shifted from nature to social life, and second, beauty has gained a relatively independent position by getting rid of the dependence on goodness and truth. The tradition of dualism in the history of western philosophy also supports the proposition of aesthetic non-utilitarianism. However, the direct ideological background of this proposition was the importance people attached to experience in the 18th century. The proposition of aesthetic non-utilitarianism was first transformed from an ethical proposition into an aesthetic proposition by the British empiricist aestheticians. Kant, a German critical philosopher, was finally identified as the core proposition of aesthetics. Aesthetics without involving utilitarianism has become the first principle of contemporary western aesthetics. As the core proposition of modern western aesthetics, aesthetic non-utilitarian proposition has been widely criticized and denied in contemporary western aesthetic circles. The reason is that there are two remarkable developing trends in contemporary western aesthetic phenomena. One is the appearance of beauty to society, which is manifested in the aesthetic appreciation of daily life; the other is the emergence of beauty towards nature, which is embodied in the rise of environmental aesthetics. At the same time, the boundaries of art are becoming wider and wider. The aesthetic of daily life requires the elimination of the distance between aesthetics and daily life, while environmental aestheticians advocate the establishment of an aesthetic theory that supports the aesthetic subject to be closer to the aesthetic object. But the blurring of the artistic boundary dissolves the boundary between art and life. The proposition of aesthetic non-utilitarianism has contributed to the division between aesthetics and daily life, the distance between aesthetic subject and aesthetic object, and the separation between art and life. Under the background of the fusion of aesthetics and daily life, the relationship between aesthetic subject and aesthetic object, and the return of art to life, the theoretical tendency of aesthetic non-utilitarian proposition is out of place, but the proposition of aesthetic non-utilitarian is not completely invalid. As long as its theoretical tendency does not point to splitting, isolating, isolating, but merely characterizing an aesthetic subject's proper respect for the aesthetic object, then it has the possibility of conciliating with many theories that criticize it. This paper is divided into three chapters. The first chapter mainly combs the ideological materials on the relationship between the ideal and utility of beauty in the period of ancient Greece, ancient Rome and the Middle Ages to the Renaissance before the 18th century. It points out what conditions have been prepared for the proposition of aesthetic non-utilitarianism in this period of time, the second chapter mainly summarizes the ideological background that the proposition of aesthetic non-utilitarianism has been established, and combs the theoretical process that it is established as the core proposition of aesthetics. It also points out the theoretical influence of this proposition after it was established as the core proposition of aesthetics. Chapter three mainly examines the background of the social and natural generation of beauty and the blurring of artistic boundaries. How to criticize the proposition of aesthetic non-utilitarianism points out whether and in what sense the proposition of aesthetic non-utilitarianism is still valid, that is, the contemporary destiny of this proposition.
【学位授予单位】：郑州大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：B83-0

【引证文献】