中国新时期审美现代性问题讨论的述评与反思

发布时间：2019-01-05 16:05

【摘要】：从上世纪80年代中后期始,审美现代性理论已经过了近三十年的发展,凝聚了较为深厚的历史内涵。本文旨在考查新时期审美现代性理论的兴起、讨论重点、意义与局限,为以后的审美现代性建设提供一些参考意见。第一章对中西方不同语境下的审美现代性做了考查。在西方,现代意义上的“现代性”是从18世纪启蒙运动开始的,强调自由、理性和个人利益。在此基础上对“审美现代性”做出阐释,并对美学现代性和审美现代性做出区分：前者是从美学领域谈现代性,后者是个充满悖反的复杂存在,更侧重反思和批判视角。在中国语境,本文回顾了20世纪初王国维、蔡元培、梁启超等人倡导的审美启蒙,反思了建国后的政治论美学,认为直到新时期审美现代性理论才崭露头角。第二章评述了新时期的审美现代性理论。新时期审美现代性是在审美独立意识的呼唤、中国社会现代化进程的激发和西方审美现代性理论的影响等多种因素共同作用下兴起的,共经历了三个阶段:1986-1996年的再度萌芽阶段,1997-2002年的高速发展阶段,2003年至今的稳步发展阶段。这期间,学界的讨论焦点有中国有几种现代性、审美现代性的模式划分、审美现代性与消费主义等几方面。第三章就审美现代性的理论贡献做了分析。审美现代性理论对人性解放和自由的强调使美学由认识论向体验论、生存论转向,对审美自律的强调使美学由过去的政治倾向向审美倾向转变。在文艺学转型方面,审美现代性理论对“审美”的强调,科学地揭示了文艺的审美本质,彰显了审美视角的方法论价值和意义。第四章探讨了新时期审美现代性理论的局限性。首先,学者们过于强调审美现代性与启蒙现代性的对抗、感性和理性的对抗,单一的审美视角也限制了文艺研究的整体性和框架性。其次,审美现代性理论从西方引进,在本土化的过程中显得语境意识和问题意识不足。本文主张构建一种既立足本土,又借鉴西方的包容的审美现代性,一种既摒弃工具理性,又避免滑向感性至上和颓废主义的温和的审美现代性。
[Abstract]:Since the middle and late 1980s, the theory of aesthetic modernity has been developed for nearly 30 years, and has condensed more profound historical connotation. The purpose of this paper is to examine the rise of the theory of aesthetic modernity in the new period, to discuss the key points, significance and limitations, and to provide some references for the construction of aesthetic modernity in the future. The first chapter examines the aesthetic modernity in different contexts of China and the West. In the West, modernity in the modern sense began with the Enlightenment in the 18 th century, emphasizing freedom, reason and personal interests. On this basis, the author interprets "aesthetic modernity", and distinguishes aesthetic modernity from aesthetic modernity: the former talks about modernity from the field of aesthetics, the latter is a complex existence full of contradictions, and focuses more on reflection and critique. In the context of China, this paper reviews the aesthetic enlightenment advocated by Wang Guowei, Cai Yuanpei and Liang Qichao in the early 20th century, reflects on the political aesthetics after the founding of the people's Republic of China, and holds that the theory of aesthetic modernity did not emerge until the new era. The second chapter reviews the theory of aesthetic modernity in the new period. The aesthetic modernity of the new period is rising under the call of the aesthetic independence consciousness, the stimulation of the modernization process of Chinese society and the influence of the western aesthetic modernity theory, etc. It has experienced three stages: from 1986 to 1996, from 1997 to 2002, and steadily from 2003 to present. During this period, there are several kinds of modernity in China, the mode division of aesthetic modernity, aesthetic modernity and consumerism. The third chapter analyzes the theoretical contribution of aesthetic modernity. The emphasis on liberation and freedom of human nature in the theory of aesthetic modernity changes aesthetics from epistemology to experiential theory, existential theory, and aesthetic self-discipline from the political tendency of the past to the aesthetic tendency. In the aspect of literary and art transformation, the emphasis of aesthetic modernity theory on "aesthetics" scientifically reveals the aesthetic essence of literature and art, and highlights the methodological value and significance of aesthetic perspective. Chapter four discusses the limitations of the theory of aesthetic modernity in the new period. First of all, scholars put too much emphasis on the confrontation between aesthetic modernity and enlightenment modernity, the antagonism between sensibility and rationality, and the single aesthetic perspective also restricted the entirety and frame of literary and artistic research. Secondly, the theory of aesthetic modernity was introduced from the west, and appeared to be deficient in context consciousness and problem consciousness in the process of localization. This paper advocates the construction of a kind of aesthetic modernity which is based on the native place and draws lessons from the West. It is a mild aesthetic modernity which both abandons instrumental rationality and avoids slipping to sensual supremacy and decadence.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：B83

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