本文選題：趣味 + 審美化��； 參考：《西南大學(xué)》2017年碩士論文

【摘要】：現(xiàn)代文學(xué)對(duì)“趣味主義”的命名,包含了“趣味”的審美化和道德化兩種演進(jìn)方式。“趣味”的審美化和道德化以審美的功利關(guān)系作為區(qū)分標(biāo)準(zhǔn)。本文試圖厘清在道德化和審美化演進(jìn)過程的基礎(chǔ)上“趣味”概念,揭示現(xiàn)代文學(xué)中“趣味主義”的價(jià)值和意義�！叭の丁钡牡赖禄桥u(píng)者站在道德的立場(chǎng)對(duì)“趣味文學(xué)”進(jìn)行的價(jià)值判斷,“道德化”的理論基礎(chǔ)便是“文藝與道德”的關(guān)系問題。從成仿吾對(duì)“趣味主義”的重新命名,到沈從文對(duì)“趣味主義”的再次定義,新文學(xué)發(fā)展過程中對(duì)“趣味主義”的自我標(biāo)榜和再次命名表明“五四”逐漸成為成為現(xiàn)代文學(xué)的傳統(tǒng)部分甚至是被批判的部分。“趣味主義”的命名作為話語(yǔ)權(quán)力運(yùn)作的策略而實(shí)施,“趣味主義”出現(xiàn)的意義不在于命名內(nèi)容本身的準(zhǔn)確與否,而在于“命名”的對(duì)象是否能夠幫助其實(shí)現(xiàn)預(yù)定的實(shí)際目標(biāo)。“趣味主義”在成仿吾與沈從文等人的論述中被賦予了諸多的意義,他們的話語(yǔ)方式生產(chǎn)出“趣味”的意義表層,而“五四文學(xué)”就被這樣一層外衣包裹著,成為與他們對(duì)立的文化整體�！叭の丁北凰麄円浴案锩迸c“嚴(yán)肅”兩種理論武器重新武裝,形成了新的意義結(jié)構(gòu)體,他們?cè)噲D通過對(duì)“五四文學(xué)”的批判,超越自身存在的等級(jí)空間。“趣味”的審美化探討的是“趣味”作為重要的美學(xué)范疇在現(xiàn)代語(yǔ)境中何以可能的問題,這個(gè)可能性最終落實(shí)到探討文學(xué)與生活、文學(xué)與人生的關(guān)系上來。梁?jiǎn)⒊摹叭の丁眲?dòng)力說和樂業(yè)觀是“趣味”審美化發(fā)生論與本質(zhì)化的重要內(nèi)容。“趣味”的動(dòng)力說通過以文學(xué)藝術(shù)為載體,情感為媒介的動(dòng)態(tài)循環(huán)論,形成了趣味本體論與目的論的統(tǒng)一。“趣味主義”的樂業(yè)觀則表明勞動(dòng)的無功利性和無目的性是獲得趣味的重要要素,勞動(dòng)的目的就是為了發(fā)現(xiàn)勞作中原本的美和趣味。兩者共同說明趣味作為生活、勞作、藝術(shù)本身的屬性,將趣味的審美化擴(kuò)展到了整個(gè)人生實(shí)踐的范疇,呈現(xiàn)出積極的生命格調(diào)和高昂的生命意趣。周作人將“余裕的生活”作為“趣味”產(chǎn)生的發(fā)生裝置,并且以“晝夢(mèng)”為方式回憶歷史與虛構(gòu)未來的理想生活圖式來反撥現(xiàn)世生活的“干燥”與“苦難”,將日常生活注入追憶、懷念的色彩使其“審美化”,實(shí)現(xiàn)藹理斯所說的“禁欲與縱欲”的調(diào)和與新的道德理想的建制。周作人的“趣味主義”表現(xiàn)為以余裕的人生為基礎(chǔ),以生活的余味為追求,與梁?jiǎn)⒊瑢⑷の兑暈樯畹谋举|(zhì)的“趣味主義”形成互補(bǔ)。朱光潛是四十年代對(duì)“趣味”問題進(jìn)行集中探討的重要代表人物。他以“人生世相”為基礎(chǔ),以培養(yǎng)修養(yǎng)為方式,以“無所為而為的玩索”為生命活動(dòng)目的,實(shí)現(xiàn)“趣味”道德化的理論目標(biāo)。“趣味”的道德化是朱光潛面對(duì)文藝與道德問題的調(diào)和方式以及具體表現(xiàn)。
[Abstract]:The modern literature's naming of "interest doctrine" includes two kinds of evolution modes: aesthetic appreciation and moralization of "taste". Aesthetic appreciation and moralization of "interest" are distinguished by the utilitarian relationship of aesthetics. This paper attempts to clarify the concept of "interest" on the basis of the process of moralization and aesthetic evolution, and to reveal the value and significance of "interest doctrine" in modern literature. The moralization of "taste" is the value judgment of "interesting literature" carried out by critics from the standpoint of morality. The theoretical basis of "moralization" is the relationship between "literature and art" and "morality". From Cheng Fangwu's renaming of "interest doctrine" to Shen Congwen's redefinition of "taste doctrine", In the course of the development of new literature, the self-promotion and renaming of "interest doctrine" show that the May 4th Movement has gradually become the traditional part of modern literature and even the part of criticism. The naming of "interest doctrine" is implemented as a strategy of the operation of discourse power. The significance of "interest doctrine" does not lie in the accuracy of the naming content itself, but in whether the object of "naming" can help it achieve its predetermined practical goal. "Taste Doctrine" has been endowed with many meanings in the discourse of Cheng Fangwu and Shen Congwen, whose way of discourse produces the surface layer of meaning of "interest", while "May 4th Literature" is wrapped in such a coat. To become a cultural entity in opposition to them. "interest" was rearmed by them with "revolution" and "seriousness", forming a new meaning structure. They tried to transcend the hierarchy space of their existence by criticizing "May 4th Literature". Aesthetic appreciation of "taste" explores the question of how "interest", as an important aesthetic category, is possible in the modern context. This possibility is finally put into practice in the discussion of the relationship between literature and life, literature and life. Liang Qichao's theory of "interest" and his view of music and work are the important contents of the theory of aesthetic occurrence and essentialization of "interest". The motive theory of "interest" forms the unity of the ontology of interest and the theory of teleology through the theory of dynamic circulation with literature and art as the carrier and emotion as the medium. On the other hand, the idea of "taste doctrine" shows that the non-utilitarian and aimless nature of labor is an important factor to obtain interest, and the purpose of labor is to find out the original beauty and interest in labor. Both of them explain the nature of interest as life, labor and art itself, extending the aesthetic of interest to the whole life practice, showing positive life style and high life interest. Zhou Zuoren uses the "life of abundance" as a mechanism for the occurrence of "fun", and recalls the ideal life schema of history and fictional future in the form of "daydreams" to counter the "dryness" and "suffering" of life in this world. The daily life is infused with recollection and nostalgia to make it "aestheticized", realizing the harmony between abstinence and lust and the establishment of new moral ideal. Zhou Zuoren's "taste doctrine" is based on the rich life and pursues the aftertaste of life, which is complementary to the "interest doctrine" which Liang Qichao regards as the essence of life. Zhu Guangqian is an important representative of "interest" in the 1940s. He takes "life phase" as the foundation, takes the cultivation and accomplishment as the way, regards "the play rope which does not act" as the life activity goal, realizes the "interest" the moral theory goal. The moralization of "interest" is Zhu Guangqian's way of reconciling literary and moral problems and its concrete expression.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I206.6

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