新时期审美现代性研究

发布时间：2018-09-03 15:17

【摘要】：现代性作为二十世纪的元话语，是以悖论甚至混乱的方式呈现。现代性的含义具有含糊的特征，很难找到一个统一的语义场，如若分层辨析，现代性应包含以下几个要义：以合理性为原则的社会；崇尚理性原则的现代个人；以反思、批判、重构为表征的现代审美，倡导复归感性，反对理性王权。因此，现代性既有哈贝马斯所说的“自我确证”的内在要求，也有着通过不断自我质疑、自我批判以求自我更生的力量、冲动与可能。审美现代性源于现代性的危机，即工具理性和价值理性的失衡，主体性内部感性主体和理性主体的矛盾对抗，可以说，审美现代性实是一场精神危机的表达。审美现代性作为现代社会中审美关系的反映、产物，是指世界范围内人类文艺的近世转换在质态和形态上所体现的基本品格样式。审美现代性是人本质力量全面实现的文艺、美学观，它的本原性含义就是一种建立在现代性冲动之中的与时俱进的时代审美精神以及人的个体生成和审美化生存的进步性诉求。审美现代性在中国文学的发展、表现，深受历史和现实的双重牵绊，它在中国语境和现代性实境中表现为以相关的审美内容、审美诉求和审美逻辑建构新的精神——心性结构，即重构审美主体的现代性，这与美学的现代性同步发展。在新时期是建构现代性叙事，在新时期以后是批判现代性叙事，复归感性，以审美诉求、审美逻辑表达新的现代性精神。在审美领域，当代文化造就的生活审美形态、技术审美形态、生存审美形态相互交织，构成了这一时期独特的景观。而这其中也孕育了时代的文化风貌，现代人的精神状态，更藏匿着现代审美精神——生生不息追求完美，审美化圆融人生的终极诉求。无论是从审美需要、审美价值还是审美关系来看，无不体现了审美现代性的核心——现代审美精神。美学现代性是审美现代性的理论形态，是美学回应现代性挑战的产物，它秉有新的最基本的理论任务，即确立现代美学不同于古代美学的性质和方向，把现代中国不同于古代的审美需要，，审美创造和审美体验，转化为美学的思考和表达。从主体实践、主体此在；理性、感性；自然美等核心范畴出发，探讨中国美学现代性状况，在此基础上分析中国美学必须顺应审美现代性，建构审美现代性，实现在新时代的现代转型。自觉地在中国问题视角的统摄下审视艺术实践、审美、美三大领域的审美现代性及其关联，并得出以下结论：艺术实践从“新颖性”的角度表达了审美现代性，即不断地把人类新的生活世界和生命体验，吸纳入自己的表达内，在超越领域创造新的审美文化系统；当代审美形态所体现的现代性审美则表达了审美现代性就是审美化生存，即关注审美在坚实的现实关系中最大限度地对人类生活及其精神发展产生效应；美学现代性则要实现不断地吸收前两者前瞻性价值内容的任务，对人类精神价值进行审美性改造与建构，从而促进整个精神价值系统的健康发展。审美现代性是一个尚未完成的文化状态，我们无法为它找到一个停顿点，但是审美现代性作为深层价值模式，其独特就在于全面而完整地提供审美的精神价值，构成人类精神文明的内容，不断加快人的提升，从而促进个体自身、个体与社会、个体与自然、个体与他人和谐发展。我们期许中国文艺、文化能够无愧担当这一重任。
[Abstract]:Modernity, as a meta-discourse in the twentieth century, is presented in a paradoxical or even chaotic way. It is difficult to find a unified semantic field because of its ambiguous meaning. If it is analyzed hierarchically, modernity should contain the following main meanings: a society based on rationality; a modern individual who advocates rationality; a modern individual who reflects and criticizes. Judgment and reconstruction are the representation of modern aesthetics, advocating the return of sensibility and opposing rational monarchy. Therefore, modernity not only has the inherent requirement of "self-confirmation" as Habermas said, but also has the power, impulse and possibility of seeking self-renewal through constant self-questioning and self-criticism.
Aesthetic modernity originates from the crisis of modernity, i.e. the imbalance between instrumental rationality and value rationality, and the contradiction and confrontation between perceptual subject and rational subject in subjectivity. It can be said that aesthetic modernity is actually the expression of a spiritual crisis. Aesthetic modernity is the literary and artistic conception that human essential power realizes in an all-round way. Its original meaning is a kind of aesthetic spirit that keeps pace with the times based on the impulse of modernity, and the progressive appeal of human individual generation and aesthetic survival.
The development and expression of aesthetic modernity in Chinese literature are deeply hindered by both history and reality. In the context of Chinese literature and modernity, aesthetic modernity represents the construction of a new spiritual structure, i.e. the reconstruction of the modernity of aesthetic subject, with the relevant aesthetic content, aesthetic appeal and aesthetic logic. The period is to construct modernity narration, and after the new period is to criticize modernity narration, return to sensibility, express new modernity spirit with aesthetic appeal and aesthetic logic.
In the field of aesthetics, the life aesthetic form, the technical aesthetic form and the existence aesthetic form created by contemporary culture interweave with each other to form a unique landscape of this period, which also gave birth to the cultural style and features of the times, the spiritual state of modern people, but also concealed the modern aesthetic spirit - the endless pursuit of perfection, aesthetic melting into life. The ultimate demand, whether from the aesthetic needs, aesthetic values or aesthetic relations, all embodies the core of Aesthetic Modernity - modern aesthetic spirit.
Aesthetic modernity is the theoretical form of aesthetic modernity and the product of aesthetics responding to the challenge of modernity. It has a new and basic theoretical task, that is, to establish the nature and direction of modern aesthetics which is different from ancient aesthetics, to transform modern China's aesthetic needs, aesthetic creation and aesthetic experience into aesthetic thinking and expression. Starting from the core categories of subject practice, subject being here, reason, sensibility and natural beauty, this paper probes into the modern characteristics of Chinese aesthetics, and on this basis analyzes that Chinese aesthetics must conform to aesthetic modernity, construct aesthetic modernity and realize the modern transformation in the new era.
Consciously examining the aesthetic modernity and its relationship in the three fields of art practice, aesthetics and beauty from the perspective of China's problems, the author draws the following conclusions: art practice expresses aesthetic modernity from the perspective of novelty, that is, it constantly incorporates the new life world and life experience of human beings into its own expression and transcends the leading position The domain creates a new system of aesthetic culture; the modernity aesthetics embodied by contemporary aesthetic forms expresses that aesthetic modernity is aesthetic existence, that is, paying attention to aesthetic effect on human life and its spiritual development to the greatest extent in the solid realistic relationship; and aesthetic modernity must absorb the foresighted value of the former two constantly. The task of value content is to transform and construct the human spiritual value aesthetically so as to promote the healthy development of the whole spiritual value system.
Aesthetic modernity is an unfinished cultural state, we can not find a pause for it, but as a deep value model, aesthetic modernity is unique in providing aesthetic spiritual value comprehensively and completely, constituting the content of human spiritual civilization, accelerating the promotion of human beings, thus promoting individual itself, individual and society. We hope that Chinese literature and culture will be worthy of this important task.
【学位授予单位】：广西师范大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：I01

【共引文献】