民间文艺美学:客体,镜像到分享

发布时间：2018-05-13 00:41

本文选题：民间文艺美学 + 民间文艺的主体性　；参考：《江苏行政学院学报》2017年04期

【摘要】：如何认识民间文艺的美学主体性,是传统民间文艺的美学研究面临的一个经典性理论问题。经典美学通常把传统民间文艺视为朴陋、未成熟和不自觉的前美学形态,实际上否定了传统民间文艺在美学意义上的主体性,因此也就否定了民间文艺美学研究在美学学科意义上的正当性。对传统民间文艺的研究从"民间文艺学"走向"民间文艺美学",意味着民间文艺从作为对象的"客体化"通过"镜像"反身自觉转向"主体化"的美学自觉。在全球化到后全球化的世界文化多样性冲突和"为承认而斗争"的主体间性背景下,这种主体化的实质是从主体自觉到主体间性文化分享理念的产生和发展。这种"分享美学"是传统民间文艺美学建设的创新理论内涵,也是当代非遗保护的文化前景。
[Abstract]:How to understand the aesthetic subjectivity of folk literature and art is a classical theoretical problem in the aesthetic research of traditional folk literature and art. Classical aesthetics usually regards traditional folk literature and art as a primitive, immature and unconsciously pre-aesthetic form, which in fact negates the subjectivity of traditional folk literature and art in the aesthetic sense. Therefore, it negates the legitimacy of folk literature and art aesthetics research in the sense of aesthetics. The study of traditional folk literature and art from "folk literature and art" to "folk literature and art aesthetics" means that folk literature and art turn from "objectification" through "mirror" to "subjective" aesthetic consciousness. In the context of the conflict of cultural diversity in the world from globalization to post-globalization and the inter-subjectivity of "struggle for recognition", the essence of this subjectivization is the emergence and development of the concept of cultural sharing between subjects from subjective consciousness to inter-subjectivity. This kind of "sharing aesthetics" is the innovation theory connotation of the traditional folk literature and art aesthetics construction, and also the cultural foreground of the contemporary non-posthumous protection.
【作者单位】：南京大学文学院;
【基金】：国家社科基金项目“非物质文化遗产与中国民间文艺美学传承创新研究”(14BZW027)的阶段性成果
【分类号】：I01;J01

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