文艺美学的维度

发布时间：2018-06-14 14:31

本文选题：文艺美学 + 感性　；参考：《南京师范大学》2003年博士论文

【摘要】： 文艺美学诞生于八十年代初，是思想解放运动的必然产物。当年有关形象思维和文学与政治关系的讨论深化了人们对文艺本质和特征的认识，意识到文艺涉及“非关理”的领域，有着与其他文化形态不同的功能和社会作用。二十年来，以“感性学”为逻辑起点的文艺美学经历了曲折。在起始阶段，它处于以理性为核心内容的实践美学的影响支配之下，感性的独特价值并未被充分认识，但八、九十年代社会生活的多元变化和新文艺现象的不断涌现使人们确信感性之维正是文艺活动的重要价值之所在。如果说八十年代以前正统文艺观念所重视的是理性、群体的价值，那么，八十年代之后，文艺美学开始重视感性、个体的价值。文艺作为一种世俗生活之诗，总是一种想象性的意义交流活动，它所展示的，是“怎么活”的多种可能性，所要解决的，是“活得怎么样”、“怎样活才有意义”之类的“现世关怀”问题。文艺美学最终关怀的也是感性人生的意义问题。德国古典美学是现代文艺美学的理论前提。以鲍姆嘉通、康德为奠基人的德国古典美学是一种为感性正名、张扬其平等地位和价值、并以其为研究中心的现代学科。逻辑地看，感性生活、个体生命价值及其意义问题是“感性学”的相关维度。德国古典美学不仅影响了西方美学的现代发展，而且影响了王国维、鲁迅等人。他们的文艺思想构成了中国文艺美学的最初传统，因此，八十年代诞生“文艺美学”实属历史必然，它绝非无源之水。文艺美学是一种思与诗的对话。它以感性学为切入点，要研究文艺活动如何用感性的、个体的、心理的东西来推动理性、社会和历史前进的。这一思路不仅出于理论需求，而且符合人类文艺活动的历史实践。“诗是人类的母语”，文艺活动帮助人类实现了从猿到人的根本转变；从古老的神话、中国的《诗经》到古希腊的史诗，原始文艺给个体的感性交流提供了公共空间，推动了集体理性的形成和发展；赋予人的全部感性生活以意义，是原始文艺活动的主要内涵。文艺发展的根本动力也出于对人类自身世俗感性生活的关怀。进入文明社会之后，以理性为核心内容的种种统治文化形态开始贬低感性的世俗生活，破坏了文艺活动的深厚基础，但感性的内在冲动，又需要有一种方式来抵御理性压力，文艺活动正是这种为感性正名，赋予日常世俗生活以意义的文化形式。从感性学以及文艺与其他文化形式相互关系的角度出发，可以解释某些“不平衡”现象。中西方文艺史表明，哪里有对人生幸福的关怀，哪里就有相对发达的文艺活动。个体价值意识以及对人生意义的叩问还是文艺活动的不竭冲动。早在文明之初，价值意识就伴随着人的自我意识的产生而产生。自觉的“创作”意识更是与实现个体价值的冲动密切相关。历史地看，传统的文艺价值观己经注意到文艺与人生价值的关联，中国文人更早已明确地将创作活动理解为张扬个体价值的行为。西方传统的文艺价值观主要是一种知识论的文艺价值观，但至二十世纪，情况发生了根本变化。尼采、胡塞尔、海德格尔等人批判了传统的知识至上论和理性万能论，论证了文艺的价值在于冲破观念的心因，展现人生的真相和审美自由的多种可能性，是生命价值的独特体现。从文艺作品的实际看，文艺的价值恰在它表现了超越正统观念的感性生活内容。人生价值意识始终是一种生命时间意识，没有生命时间意识，人生价值意识无从产生，生命时间意识就是人生价值意识。文艺作为世俗生活之诗，如何赋予此岸人生以意义，如何超越生命时间的局限，获得最终的审美自由和人生价值，是其基本主题和探索焦点。时间意识的逻辑展开，也支配着文艺思潮的逻辑演进以及文艺作品内容与形式等方面的递增更新。古代浪漫主义、基督教文学、现实主义、近代浪漫主义、现代主义、后现代文学等思潮的背后有着各自不同的人生价值意识和时间意识。文学是人学，它区别于哲学、伦理学、宗教学的地方正在它是人的感性自由的价值学，个体生命的意义学。因此，文艺美学瞄准文艺的感性之维，它也是一种人学，具有鲜明的人文学科性质。然而在当代社会，不仅文艺美学的学科价值受到了某种“审美文化”论的挑战，而且文艺的不可取代的独立审美价值也受到了怀疑。但事实上，某些“审美文化”中的感性外观与文艺的审美之维有着本质区别，它受到商品经济条件下新的权力机制的操控，不利于个体自由与价值的张扬，实质上是一种伪审美要素。在现代化的背景下，，仍然需要以张扬个体价值和自由为根本目的的文艺活动，也需要以此为根本指向的现代性文艺美学。
[Abstract]:Literary aesthetics was born in the early 80s. It was an inevitable product of the movement of ideological emancipation. The discussion of the relationship between image thinking and literature and politics deepened people's understanding of the essence and characteristics of literature and art, realized that literature and art were involved in the field of "non customs", and had different functions and social functions from other cultural forms.
In the past twenty years, literary aesthetics with "perceptual learning" as the logical starting point has undergone twists and turns. At the beginning, it is under the influence of the practical aesthetics which is the core content of reason. The unique value of the sensibility has not been fully understood. But in the eight, the changes in the social life and the continuous emergence of the new literature and art in 90s make sure that people do not have a good idea. The dimension of the sensibility of the letter is the important value of the literary and artistic activities. If the orthodox literature and art idea before 80s is valued as reason and the value of the group, then, after 80s, the aesthetics of literature and art began to attach importance to sensibility and individual value. As a secular life poem, literature and art are always a kind of imaginary communication activity. What is displayed is the possibility of "how to live", and the problem to be solved is "how to live", "how to live and have meaning", and the question of "present care". The ultimate concern of literary aesthetics is the significance of the perceptual life.
German classical aesthetics is the theoretical premise of modern literary aesthetics. The German classical aesthetics, taking Baumgarten and Kant as the founder, is a modern subject for the perceptual name, the equal status and value, and its research center. The logical view, the perceptual life, the individual life value and its significance is the related dimension of "perceptual learning". German classical aesthetics not only influenced the modern development of western aesthetics, but also influenced Wang Guowei, Lu Xun and others. Their literary and artistic ideas constitute the original tradition of Chinese literary and artistic aesthetics. Therefore, the birth of "literary and artistic aesthetics" in 80s is a historical necessity, and it is not a passive water.
Literary aesthetics is a dialogue between thought and poetry. It takes the perceptual learning as the breakthrough point to study how literary and artistic activities advance rationality, society and history with perceptual, individual and psychological things. This idea is not only for theoretical needs, but also in the historical practice of human literature and art. "Poetry is the mother tongue of human beings", literary and artistic activities. From the ancient mythology, the Chinese "Book of Songs >" to the ancient Greek epic, the primitive literature and art provided the public space for the perceptual exchange of the individual, which promoted the formation and development of the collective rationality, and the meaning of the entire perceptual life of the human being was the main connotation of the primitive literary and artistic activities.
The fundamental motive force of the development of literature and art is also out of the concern for the human worldly emotional life. After entering the civilized society, the dominant cultural form of rational as the core content begins to degrade the sensuous secular life and undermines the profound foundation of the literary and artistic activities, but the emotional inner impulse needs a way to resist the rational pressure.
Literary and artistic activities are just the form of culture that gives emotional meaning to the daily life.
And the relationship between literature and art and other forms of culture can explain some phenomena of "imbalance".
The history of Chinese and Western literature and art shows that where there is concern for happiness in life, there are relatively developed literary and artistic activities.
Personal value consciousness and questioning of the meaning of life are still the endless impulse of literary and artistic activities.
At first, value consciousness came into being with the emergence of people's self-consciousness.
The impulse to realize individual value is closely related. Historically, traditional literary and artistic values have paid attention to Literature and art.
The connection between life value and Chinese literati has clearly interpreted creative activities as a way to publicize individual values.
The western traditional values of literature and art are mainly a kind of literary and artistic values of knowledge, but by twentieth Century,
The fundamental changes have taken place. Nietzsche, Husserl, Heidegger and others criticized the traditional theory of supremacy of knowledge.
The theory of sexual omnipotent demonstrates that the value of literature and art lies in breaking through the cause of mind and revealing the truth and aesthetic freedom of life.
Many possibilities are unique manifestations of the value of life. From the perspective of literary and artistic works, the value of literature and art is just the same.
It shows the perceptual life content beyond orthodoxy.
Life value consciousness is always a sense of life time, no sense of life time, and sense of life value.
Life time consciousness is life value consciousness. How to give literature and art as a poem of secular life?
On this shore life, by means of meaning and how to transcend the limitation of life time, obtains the ultimate aesthetic freedom and life value.
The logic of time consciousness also dominates the logical evolution of literary trend of thought.
And the gradual updating of content and form of literature and art. Ancient romanticism, Christian literature, reality
Doctrine, Modern Romanticism, modernism, post-modern literature and other trends have their own different lives.
The consciousness of value and the consciousness of time.
Literature is human science, which is different from philosophy, ethics and religion. It is the perceptual freedom of human beings.
Therefore, literary aesthetics aims at the perceptual dimension of literature and art.
Human science has a distinct nature of humanities. However, in contemporary society, it is not only the academic value of literary aesthetics.
It is challenged by the theory of "aesthetic culture", and the independent aesthetic value of literature and art can not be replaced.
Doubt. But in fact, the perceptual appearance of certain "aesthetic culture" is essential to the aesthetic dimension of literature and art.
The difference is that it is manipulated by the new power mechanism under commodity economy, which is not conducive to individual freedom and value.
Yang is essentially a pseudo aesthetic element. Under the background of modernization, it is still necessary to publicize individual value.
The literary and artistic activities that are fundamental to freedom also need the modern aesthetics of literature and art.
【学位授予单位】：南京师范大学
【学位级别】：博士
【学位授予年份】：2003
【分类号】：I01

【引证文献】