20世纪中国审美主义思想研究

发布时间：2018-07-03 14:21

本文选题：20世纪 + 中国　；参考：《浙江大学》2004年博士论文

【摘要】： 本文的研究重心不是详尽地描述审美主义在20世纪中国流变起伏的发展历史，，而是着重阐释20世纪中国审美主义思想的不同侧面。不过，由于20世纪中国审美主义思想在不同的时间段里显示出不同的面相，本文的总体结构安排，主要以审美主义思想在20世纪中国不同时间段里凸显出的问题意识为中心。具体来说，第一章带有研究综述的性质，主要通过中西学术界对审美主义这一术语的不同用法进行简要概述，以确立审美主义这一概念的基本理论内涵，第二章以中国古代审美主义思想与中国现代审美主义思想的区别为核心问题，第三章以中国现代审美主义思想的理论形态为核心问题，第四章以审美主义问题的政治特性为核心问题，第五章以审美主义话语形态为核心问题，第六章以审美主义与文化保守主义、浪漫主义、科学主义的区别和联系为核心问题。本文的主要观点如下：一、20世纪是中国文学现代性进程最重要的时间段，而审美主义是透视中国文学现代性进程的一个重要视角。中国现代审美主义话语的崛起，虽然与尼采为代表的，自康德、席勒、叔本华至尼采的西方现代审美主义思想有着密切的关系，但中国学者在西方现代审美主义思想影响下所形成的审美主义思想有着自身的独特性。二、虽然中国传统美学中的儒家、道家和禅学均以不同的方式开辟出了走向审美生存的理路，但我觉得中国现代审美主义思想不可能由中国古代审美主义思想的胚胎自然发育而成，因为中国古代审美主义思想在总的价值取向上，企图通过逃进“美”这个避难所里，回避“生命本身一切疑问和陌生的东西”，将蓬勃的生命封闭在虚幻的象牙塔中，一厢情愿地让“没有了混乱作为母床和背景”的“纯粹生命”忘却来自现实的种种压力，沉迷于“美”当中孤芳自赏、自得其乐。鉴于中国古代审美主义思想具有这种面对生命摆出的后撤姿态和疏离生活的局限性，只有从近现代稿酬制度的建立、现代文学制度的确立、现代公共领域的形成等具体历史情境出发，去探究中国现代审美主义思想的起源语境。三、中国现代审美主义的理论形态是多种多样的，但在我看来，最重要的是审美独立论与审美救赎论，而且，就20世纪中国审美主义思想的演进轨迹看，它们最集中体现在20一40年代。关于审美独立的思想不应该从王国维先生的美学思想中挖掘，而更应该到前期创造社和前期象征派的思想脉络中去寻求。阐述审美救赎论时，我不倚重被目前的学术界炒得很热的社会批判理论，而把关注的重心投向早已成为历史人物的朱光潜先生和宗白华先生的审美思想，他们两人的思想精华和思想局限在20世纪中国审美主义理论形态中均堪称代表。四、伴随着现代美学走向诗性化和审美化这一趋势，我们越来越感觉到审美不只是关乎个人陶情冶性的小问题，局限于审美内部已很难探究清楚审美主义的实质。就中国20世纪50一70年代的具体情形来看，那无疑是一个对文学艺术的发展构成很大障碍的政治环境，却恰恰又是文学作品出版得最多的一个时代。我认为，从现代性进程来看，20世纪50一70年代是中国现代化进程的“典型过渡阶段”，对“文艺大跃进”进行诗学考察，并将“文革文学”作为政治唯美主义的巅峰之作来解读，我们不仅能看到假道美学解决政治问题的极致化表现，更能透视中国现代审美主义问题的政治特性。五、审美主义思想在文论界流播的直接后果是审美主义话语的盛行，或者反过来说，审美主义话语在文论界的盛行，让我们清晰地看到了审美主义思想的崛起。我认为，审美主义话语的基本特征表现为以下两个方面:一是文学理论领域显示出浓重的美学化倾向，二是带着强烈个体情绪反应的诗意言说成为一个时代文学理论话语的时代标志。以这两个基本特征来衡量，20世纪80年代显然是一个审美主义勃兴的时代，而随着80年代的浮华和激情成为历史陈迹，90年代以来以语言论转向为过渡，以学术规范化、新理性精神的提出和文化研究热潮的兴起为标志，审美主义话语走向了式微。 _」-
[Abstract]:The focus of this study is not to describe the history of the development of aestheticism in China in twentieth Century, but to explain the different aspects of the Chinese aestheticism in the twentieth Century. However, because of the different faces of the Chinese aestheticism in the different periods of the twentieth Century, the overall arrangement of this article is mainly on trial. In twentieth Century, the ideology of Americanism highlighted the problem consciousness in different periods of China. In particular, the first chapter contains the nature of the research review, mainly through the brief overview of the different uses of the term aestheticism in the Chinese and western academia, in order to establish the basic theoretical connotation of the concept of aestheticism, and the second chapter is Chinese ancient. The third chapter takes the theoretical form of Chinese Modern Aestheticism as the core issue. The fourth chapter takes the political characteristics of the aestheticism as the core problem, the fifth chapter takes the aesthetic discourse form as the core problem, and the sixth chapter is aestheticism and culture. The distinction and connection between conservatism, romanticism and scientism are the core issues.
The main points of this article are as follows: first, twentieth Century is the most important period in the course of the modernity of Chinese literature, and the aestheticism is an important perspective of the perspective of the modernity of Chinese literature. The rise of modern Chinese aesthetical discourse, although represented by Nietzsche, is from Kant, Schiller, Schopenhauer to Nietzsche's modern western aestheticism. There is a close relationship between thought, but the aesthetic ideology formed by Chinese scholars under the influence of modern western aestheticism has its own uniqueness. Two, although Confucianism, Taoism and Zen in Chinese traditional aesthetics have opened the way to aesthetic survival in different ways, but I think the Chinese Modern Aestheticism thought. It is impossible to develop naturally from the embryo of ancient Chinese aestheticism, because in the general value orientation of ancient Chinese aestheticism, it tried to escape into the refuge of "beauty", evade "all questions and strange things of life itself", and closed its vigorous life in the fantasy ivory tower and let it be wishful. The "pure life without chaos as the mother bed and the background" forgets the pressure from the reality and is obsessed with the self admiration and enjoyment of the "beauty". In view of the Chinese ancient aestheticism thought with the retreating posture facing life and the restriction of the alienation of life, it is only from the establishment of the modern system of remuneration. Literary system
Based on the establishment of modern public sphere and other specific historical situations, we should explore the modern aestheticism of China.
Three, the theoretical form of Chinese modern aestheticism is varied, but in my view, the most
What is important is the theory of aesthetic independence and aesthetic redemption, and the evolution of Chinese aestheticism in the twentieth Century.
They are most concentrated in the 20 year 40s. The idea of aesthetic independence should not be from Wang Guowei.
It should be excavated in his aesthetic thought, and should be sought in the ideological context of early creation society and early symbolism.
When I expound the theory of aesthetic redemption, I do not rely on the critical theory of social criticism, which is very heated by the current academic circles.
The focus of attention has been placed on the aesthetic thoughts of Mr. Zhu Guangqian and Mr. Zong Baihua, who have long been the historical figures.
The ideological essence and ideological limitations of the two of them are all representative of the aesthetic theory form of China in the twentieth Century.
Four, along with the trend of modern aesthetics moving towards poeticization and aestheticization, we feel more and more that aesthetics is more than just.
It is a small problem related to the individual's temperament and temperament, and it is difficult to find out the truth of aestheticism in the interior of aesthetics.
In terms of the specific situation of China's 50 and 70s twentieth Century, it is undoubtedly a literary and artistic development.
The political environment that constitutes a great obstacle is precisely the era where literary works have been published most.
From the perspective of modernity, twentieth Century 50 and 70s are the typical transitional stages of China's modernization process.
"Poetry" and "Cultural Revolution Literature" as political aestheticism.
To interpret the peak work, we can not only see the extreme performance of false aesthetics in solving political problems, but also be able to penetrate thoroughly.
The political characteristics of modern Chinese aestheticism. Five, the direct dissemination of aestheticism in literary circles.
Fruit is the prevalence of aestheticism discourse, or conversely, the popularity of aestheticism discourse in literary circles has left me.
We clearly see the rise of aestheticism. I think the basic features of aestheticism discourse are
The following two aspects: first, the field of literary theory shows a strong aesthetic tendency; two, with strong individuals.
The poetic expression of emotional response has become the epoch mark of the literary theory discourse of the times. Based on these two basic characteristics
To measure, 1980s is clearly an era of aestheticism, and with the floating of 80s.
Hua and passion have become history. Since 90s, they have changed from linguistic theory to academic standardization.
The emergence of rational spirit and the upsurge of cultural research marked the decline of aestheticism discourse.
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【学位授予单位】：浙江大学
【学位级别】：博士
【学位授予年份】：2004
【分类号】：B83-092

【引证文献】