回到美自身的领域

发布时间：2018-05-30 08:59

本文选题：美自身的领域 + 认识论美学　；参考：《西南大学》2011年博士论文

【摘要】：本文以美自身为视点,通过对当代中国美学思想形态转变过程的历时性扫描,指出当代中国美学一方面在努力克服先前美学思想弊端的同时,另一方面又不可避免地对美产生新的误解,把美要么当作人的认识,要么把美看作是人类的实践活动,甚至认为美是人的全部生命的最高表现形式,因而出现了遮蔽美、悬置美和放大美的“非美化”现象。为消除这一理论失误,当代中国美学必须回到美自身的领域,使美学真正能够以美为沉思对象,以美为自身规范和追求向度。就时间来说,当代中国美学展开于上世纪五六十年代美学大讨论时期,但就思维方式来说,它发端于三四十年代周扬所倡导的、由蔡仪建立起来的“新美学”。“新美学”为当代中国美学研究确立起两种思维模式：一是把哲学上解决思维与存在关系所区分出来的唯物主义和唯心主义滥用到美学领域,并与主流政治意识形态挂钩,认为感觉、观念、情感、意识等一律是反唯物论原则的,是主观唯心的东西,也是反动没落的资产阶级的东西；二是把马列主义认识论的反映论原则机械地运用到美学研究当中,在哲学认识论框架中阐释美,认为既然辩证唯物主义认识论告诉我们,认识是对客观世界的反映,那么美感自然也就是对“美”的感受,“美”因而必然是客观存在的。认识论美学克服了西方传统美学抽象玄思的局限性,使当代中国美学立足大地,关注社会与人生,具有丰厚充实的社会内容。但它把美等同于人的认识,回避了美与认识关系这一美学核心课题,转移了美学视线,简化了美学研究内容。再加受到上述两种思维模式的制约,认识论美学将美的客观性当作毋庸置疑的前提接受下来,导致那场看似轰轰烈烈的美学论争实质上只是一场寻找美的客观性的狂欢活动,论争各派之间的提问和诘难并不全部是就美自身来展开的,论争的话语偏离了美,美因而被遮蔽。实践论美学是在与机械客观主义美学斗争中发展起来的,虽然带有认识论痕迹,但它重视主体在审美活动中的意义,在内容和形式上比反映论美学更加完善,成为当代中国美学的独特形态。实践论美学把马克思主义实践观直接应用于美学领域,认为审美主体是由实践活动决定的,审美对象是由实践创造的,审美过程也是通过实践来完成的,因此实践是人类审美活动的条件和根源。实践论美学的最大失误是把马克思主义实践论哲学等同于美的科学,将人的本质等同美的本质,讨论的是人的本质和人的历史生成问题而不是美的问题,美因而被悬置。本体论美学是反思批判实践论美学的结果,它包括为了超越实践论美学而广泛借鉴西方现代哲学思想建立起来的生命美学、超越美学和生存论美学等后实践美学,也包括为捍卫实践论美学立场而发展起来的实践存在论美学和新实践美学。本体论美学把实践论美学中具有本体意义的“实践”范畴替换成生命、存在、自由、超越等,并以之为本体确立起本体论思维方法,然后把人的终极意义还原落实到生存、自由和超越等上面来,让人类的审美活动承担起实现人生终极价值的重担,美就成为全部生命的最高表现形式。本体论美学把美放大成生命的全部,忽略了美自身,美是什么同样不得求解。从机械反映论美学到实践论美学再到本体论美学这一历史转换过程表明,当代中国美学每一新形态的确立都是建立在对上一美学思想局限性地批判反思之上,充分显示出当代中国美学反躬自省、向美回归的热情,只不过由于社会时代条件和传统文化习性的制约,每一次发问之后难免落入另一窠臼。如今,在多元文化背景下,在后现代文化场域里,我们应该承续当代中国美学固有的反思精神,带着“向美回归”的热情,回到美自身的领域,让美学在美的向度上重新出发。回到美自身的领域并非抽象空泛的口号,它有确切的历史根据和坚实的内容。康德以先验批判的方式分别检视了人类的认识原则、伦理原则和情感原则,为传统的认识、道德和审美三大领域翻开了崭新的一页。康德揭示了美与认识、美与道德之间的复杂关系,剖析了美自身的生成机制,使美自身首次以独立自足的面目在人类心灵中呈献出来。康德美学因此具有本源性意义,后来西方各派美学几乎都能在康德那里找到起源和根据,就是因为他们是在继承、批判和吸收康德美学思想的基础上发展起来的。康德为美划边定界,指出了美的独立自足性,这是美学的规范,是美学的方向。只有在这种规范和方向上,我们才不会把美当作认识,当作实践,甚至当作人生的全部,也只有在这种规范和方向上,我们才能更深入地探讨美与认识、实践与社会人生的关系,才能进一步接近美自身,而避免“非美化”或“泛美化”现象。海德格尔看到传统形而上学对存在研究的误区之后,高扬胡塞尔“面向事情本身”的大旗,回到前苏格拉底哲学时代,回到存在本身,翻转了研究存在的路径。我想,我们学习海德格尔的方法难道不比学得他一两个新的名词和术语更具有意义吗?
[Abstract]:In order to eliminate this theory , contemporary Chinese aesthetics must return to the realm of beauty itself , so that aesthetics can be regarded as the object of beauty itself , and the beauty can be regarded as its own standard and the pursuit of the degree .

In terms of time , contemporary Chinese aesthetics is unfolding in the discussion of aesthetics in the 1950s and 1960s , but in the way of thinking , it originated from the " new aesthetics " advocated by Zhou Yang in the 1930s .
The second is to apply the principle of anti - reflection of Marxism - Leninism to the study of aesthetics , and explain the beauty in the framework of philosophical epistemology , and think that since the dialectical materialism epistemology tells us that understanding is the reflection of the objective world , then the aesthetic feeling is the feeling of beauty , and beauty is therefore inevitable .

The aesthetic conception of epistemology overcomes the limitations of the western traditional aesthetics , makes the contemporary Chinese aesthetics based on the earth , pays attention to the society and life , and has rich social content . However , it takes the aesthetic view and simplifies the content of aesthetic research .

The aesthetics of practice is developed in the struggle with the aesthetics of mechanical objectivism . Although there is a trace of epistemology , it attaches great importance to the significance of the subject in aesthetic activities , and becomes the unique form of contemporary Chinese aesthetics .

The aesthetics of ontology is the result of reflective critical practice aesthetics . It includes the aesthetics of life , beyond aesthetics and the aesthetics of existence , and the aesthetic and new practice aesthetics .

From the perspective of mechanical anti - reflection aesthetics to the aesthetic of practical theory and the historical transformation of ontology aesthetics , the establishment of each new form of contemporary Chinese aesthetics is based on the critical reflection of the limitation of the previous aesthetic ideology . It shows that the contemporary Chinese aesthetics is self - introspection and the enthusiasm for returning to the United States . Now , in the background of multi - cultural background , we should continue to reflect on contemporary Chinese aesthetics , with the enthusiasm of " returning to the US " , and return to the field of beauty itself , and let the aesthetics re - start in the degree of beauty .

Kant ' s aesthetic principle , the principle of ethics and the principle of emotion , which have been developed on the basis of inheriting , criticizing and absorbing Kant ' s aesthetic thoughts , have revealed the relationship between beauty and understanding , beauty and morality , and only in this norm and direction , we can explore the relationship between beauty and understanding , practice and social life , so as to further close to the beauty itself , and avoid " non - beautification " or " Pan - Americanisation " .

After he saw the erroneous zone of the traditional metaphysics on the existence of the study , Hansser ' s " face - to - matter " big flag , back to the former Socrates philosophy era , returned to the existence itself , reversed the path of the study . I think it is more meaningful to learn the method of Heidelberger than to learn his two new terms and terms ?
【学位授予单位】：西南大学
【学位级别】：博士
【学位授予年份】：2011
【分类号】：B83

【相似文献】