20世纪80年代审美文论研究
发布时间：2018-08-27 13:31
【摘要】： 自文学理论研究有了自觉意识以来,“审美”这一因素就从未淡出理论研究者的视野,只不过受到各种历史条件的影响和制约,“审美”没有得到明显地倡导罢了,从这个意义上说,“审美文论”并不仅仅属于20世纪80年代。但是,如此泛泛而谈,“审美文论”的提法也就失去了它应有的内涵。 在20世纪80年代中国文学理论研究领域中出现了一股新的理论思潮,从表面上看它没有形成固定而统一的理论宣言和理论规范,也没有形成一定的理论组织规范、制度机构。而文学理论研究者们则自发地将“审美”这个关键词作为文学理论研究的基点,或者说重新提升了“审美”在文学理论中的地位,例如:由“反映论”变为“审美反映论”,从“意识形态论”变成了“审美意识形态论”,他们注重对文学理论中“审美”因素的研究,同时改变了“审美”的政治功利性内涵,并赋予其新的内涵、价值和意义,这就是本文所说的“审美文论”。 本文不打算对“审美文论”思潮进行整体上的理论分析和梳理,本文试图讨论在“审美文论”中审美价值生成的四个逻辑路向:审美无功利论,审美主体建构论,审美社会功能论和审美体验超越论。将其命名为“逻辑路向”意思是说在现实层面上,“审美文论”中审美价值是一个完整的系统,各个审美价值之间不是孤立存在的,要想将它们完全分开解析只能在纯粹的逻辑层面展开。本文对这四个审美价值路向分别加以分析只能说是一种权宜之计。本文分为四章,每章讨论一个路向,并在引言和结论两处加以系统整理。 第一章讨论“审美无功利论”,首先从历史上梳理这一逻辑路向的脉络,其次将视角转向20世纪80年代的“审美文论”,“审美无功利论”将审美的价值归结为“审美”和“艺术”自身,“无功利”是指在现实社会和世界中,审美没有任何功利性目的,在“审美文论”中,它表现为“唯美主义”、“为艺术而艺术”、“审美无关利害”、“形式主义”、“纯文学”、“纯诗”等;第二章是“审美主体建构论”,它认为在文学艺术中“审美”最主要的功能和意义在于它可以重新塑造主体,使主体在精神、性格、人性、心灵等方面在现世生活中得到提升和完善,或者是自我实现。本章同时分析了析“审美主体建构论”的理论渊源,以刘再复的《论文学的主体性》和“审美反映论”为例分析20世纪80年代“审美文论”中的“审美主体建构论”;第三章分析“审美社会功能论”,这一逻辑路向更加关心的是“审美”在何种程度上可以发挥的它的社会功能,它不同于纯粹的文艺社会功利论,它在努力发掘出“审美”的自身内涵之后,在“审美”的基础上重新审视审美的社会功能,它力求使“审美”的其它价值与社会价值达到一种辩证地统一。本章首先分析“审美社会功能论”的理论脉络,再分析20世纪80年代“审美文论”中这一逻辑路向的简要情况,以“审美意识形态论”为例进行论证;第四章论述了“审美体验超越论”,把“审美”的价值定位于“审美精神主体”,它注重审美的瞬间体验,在这种瞬间体验中主体能够超越现实的束缚和局限,走向一种完全自由的人生境界。人们在现实中不能实现的,可能通过“审美体验”在理想和精神领域中实现,它具有幻想和宗教的意味,只存在于人的内存心灵领域,“自由性”、“瞬间性”和“彼岸性”是它的基本特质。这一章论述较为简略,主要以刘小波和童庆炳二人的学术文章作为讨论的对象。 在价值层面上讲,“审美文论”就是在这四个逻辑路向上分别展开对审美政治功利论的批判和瓦解,它的出现在一定程度上抵制和批判“审美政治功利论”并在当时的文学理论研究中占据着主导地位,并对80年代的整体社会思想状况发挥着它应有的积极作用。
[Abstract]:Since the study of literary theory became conscious, the factor of "aesthetics" has never faded out of the field of vision of theoretical researchers. It is only influenced and restricted by various historical conditions that "aesthetics" has not been clearly advocated. In this sense, "aesthetic literary theory" does not belong only to the 1980s. In general, the formulation of "aesthetic literary theory" has lost its connotation.
In the 1980s, a new theoretical trend of thought emerged in the field of Chinese literary theory research. On the surface, it did not form a fixed and unified theoretical declaration and norms, nor did it form a certain theoretical organization and norms, institutional institutions. The basic point of theoretical research, or to say, has re-elevated the status of "aesthetics" in literary theory, for example, from "theory of reflection" to "theory of aesthetic reflection", from "theory of ideology" to "theory of aesthetic ideology". They pay attention to the study of "aesthetic" factors in literary theory, and change the political merits of "aesthetics". This is the aesthetic theory of literature.
This paper does not intend to analyze and sort out the ideological trend of "aesthetic literary theory" as a whole. It attempts to discuss the four logical directions of the generation of aesthetic value in "aesthetic literary theory": aesthetic utilitarianism, aesthetic subject construction, aesthetic social function and aesthetic experience transcendence. On the realistic level, the aesthetic value is a complete system in the "aesthetic literary theory". Each aesthetic value does not exist in isolation. If we want to analyze them completely separately, we can only start at the purely logical level. The chapter discusses a way forward and systematically collate the two parts of the introduction and conclusion.
The first chapter discusses the theory of aesthetic utilitarianism, first of all, combing the logic from history, then turning the perspective to the "aesthetic literary theory" of the 1980s. The theory of aesthetic utilitarianism attributes the value of aesthetics to "aesthetics" and "art" itself. The theory of "utilitarianism" refers to the fact that aesthetics does not exist in real society and the world. In "aesthetic literary theory", any utilitarian purpose is manifested as "aestheticism", "art for art", "aesthetic irrelevant interests", "formalism", "pure literature" and "pure poetry". The second chapter is "aesthetic subject constructivism", which holds that the most important function and significance of "aesthetic" in literature and art lies in its feasibility. This chapter also analyzes the theoretical origin of the theory of aesthetic subject construction, and takes Liu Zaifu's "On the Subjectivity of Literature" and "Aesthetic Reflection Theory" as examples to analyze the aesthetic appreciation in the 1980s. The third chapter analyses the theory of aesthetic social function, which is more concerned with the degree to which aesthetic can play its social function. It is different from the pure theory of literary and artistic social utilitarianism. On the basis of re-examining the social function of aesthetics, it strives to achieve a dialectical unity between other values of "aesthetics" and social values. This chapter first analyzes the theoretical context of "aesthetic social function theory", and then analyzes the brief situation of this logical direction in "aesthetic literary theory" in the 1980s, with "aesthetic ideology theory". Chapter Four discusses the Transcendence Theory of aesthetic experience, which locates the value of aesthetic experience as the subject of aesthetic spirit. It pays attention to the instantaneous experience of aesthetics. In this instantaneous experience, the subject can transcend the restrictions and limitations of reality and move towards a completely free realm of life. It can be realized in the ideals and spiritual realm through "aesthetic experience". It has fantasy and religious meanings. It only exists in the realm of human memory and mind. Freedom, instantaneity and trans-shore are its basic characteristics. This chapter is relatively brief, mainly discussed by Liu Xiaobo and Tong Qingbing's academic articles. Object.
On the value level, "aesthetic literary theory" is the criticism and disintegration of aesthetic political utilitarianism in these four logical directions. Its appearance resists and criticizes "aesthetic political utilitarianism" to a certain extent and occupies a dominant position in the study of literary theory at that time. It also has an overall social and ideological situation in the 1980s. Play its positive role.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：I01
本文编号：2207439
[Abstract]:Since the study of literary theory became conscious, the factor of "aesthetics" has never faded out of the field of vision of theoretical researchers. It is only influenced and restricted by various historical conditions that "aesthetics" has not been clearly advocated. In this sense, "aesthetic literary theory" does not belong only to the 1980s. In general, the formulation of "aesthetic literary theory" has lost its connotation.
In the 1980s, a new theoretical trend of thought emerged in the field of Chinese literary theory research. On the surface, it did not form a fixed and unified theoretical declaration and norms, nor did it form a certain theoretical organization and norms, institutional institutions. The basic point of theoretical research, or to say, has re-elevated the status of "aesthetics" in literary theory, for example, from "theory of reflection" to "theory of aesthetic reflection", from "theory of ideology" to "theory of aesthetic ideology". They pay attention to the study of "aesthetic" factors in literary theory, and change the political merits of "aesthetics". This is the aesthetic theory of literature.
This paper does not intend to analyze and sort out the ideological trend of "aesthetic literary theory" as a whole. It attempts to discuss the four logical directions of the generation of aesthetic value in "aesthetic literary theory": aesthetic utilitarianism, aesthetic subject construction, aesthetic social function and aesthetic experience transcendence. On the realistic level, the aesthetic value is a complete system in the "aesthetic literary theory". Each aesthetic value does not exist in isolation. If we want to analyze them completely separately, we can only start at the purely logical level. The chapter discusses a way forward and systematically collate the two parts of the introduction and conclusion.
The first chapter discusses the theory of aesthetic utilitarianism, first of all, combing the logic from history, then turning the perspective to the "aesthetic literary theory" of the 1980s. The theory of aesthetic utilitarianism attributes the value of aesthetics to "aesthetics" and "art" itself. The theory of "utilitarianism" refers to the fact that aesthetics does not exist in real society and the world. In "aesthetic literary theory", any utilitarian purpose is manifested as "aestheticism", "art for art", "aesthetic irrelevant interests", "formalism", "pure literature" and "pure poetry". The second chapter is "aesthetic subject constructivism", which holds that the most important function and significance of "aesthetic" in literature and art lies in its feasibility. This chapter also analyzes the theoretical origin of the theory of aesthetic subject construction, and takes Liu Zaifu's "On the Subjectivity of Literature" and "Aesthetic Reflection Theory" as examples to analyze the aesthetic appreciation in the 1980s. The third chapter analyses the theory of aesthetic social function, which is more concerned with the degree to which aesthetic can play its social function. It is different from the pure theory of literary and artistic social utilitarianism. On the basis of re-examining the social function of aesthetics, it strives to achieve a dialectical unity between other values of "aesthetics" and social values. This chapter first analyzes the theoretical context of "aesthetic social function theory", and then analyzes the brief situation of this logical direction in "aesthetic literary theory" in the 1980s, with "aesthetic ideology theory". Chapter Four discusses the Transcendence Theory of aesthetic experience, which locates the value of aesthetic experience as the subject of aesthetic spirit. It pays attention to the instantaneous experience of aesthetics. In this instantaneous experience, the subject can transcend the restrictions and limitations of reality and move towards a completely free realm of life. It can be realized in the ideals and spiritual realm through "aesthetic experience". It has fantasy and religious meanings. It only exists in the realm of human memory and mind. Freedom, instantaneity and trans-shore are its basic characteristics. This chapter is relatively brief, mainly discussed by Liu Xiaobo and Tong Qingbing's academic articles. Object.
On the value level, "aesthetic literary theory" is the criticism and disintegration of aesthetic political utilitarianism in these four logical directions. Its appearance resists and criticizes "aesthetic political utilitarianism" to a certain extent and occupies a dominant position in the study of literary theory at that time. It also has an overall social and ideological situation in the 1980s. Play its positive role.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2008
【分类号】：I01
【引证文献】
相关期刊论文 前1条
1 张春霞;;新时期文学批评主体的重新定位[J];齐齐哈尔大学学报(哲学社会科学版);2011年03期
，本文编号：2207439
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