本文選題：日常生活審美化 + 新型文化媒介人�。� 參考：《中南民族大學》2013年碩士論文

【摘要】：20世紀以前，日常生活在西方哲學研究中幾乎處在一個無人關注的地位。直到20世紀，德國的現(xiàn)象學才真正將日常生活提到哲學高度。胡塞爾提出“生活世界”的概念，許茨、海德格爾、赫勒等也從各自的研究視野出發(fā)，發(fā)展和豐富了日常生活的思想�！叭粘Ｉ睢背蔀橐粋�現(xiàn)代概念，則是從法國哲學家列斐伏爾開始，其關于日常生活批判理論，對后來關于日常生活研究都發(fā)生著積極的影響。 “日常生活審美化”的出現(xiàn)，則是在后現(xiàn)代語境下，與消費文化息息相關。英國社會學家邁克·費瑟斯通首次提出“the aestheticization of everyday life”，他認為，在后現(xiàn)代語境下，藝術(shù)與日常生活之間的界限被消解了，高雅文化與大眾文化之間層次分明的差異消彌了，德國美學家沃爾夫?qū)ろf爾施也認為，當前我們正經(jīng)歷著一場美學的勃興，他在《重構(gòu)美學》里闡述了“淺層審美化”和“深層審美化”兩種思想。 隨著經(jīng)濟全球化趨勢的加劇，類似于西方后現(xiàn)代社會的生活場景在中國經(jīng)濟發(fā)達的一線城市也相繼出現(xiàn)，消費社會的文化觀念、生活方式從西方引進來。審美活動也已經(jīng)超出所謂純藝術(shù)/文學的范圍，滲透到大眾的日常生活中，城市廣場、街心花園等社會空間與生活場也出現(xiàn)審美/藝術(shù)活動的身影。盡管目前中國社會還處在前現(xiàn)代、現(xiàn)代與后現(xiàn)代多元共生的格局中，日常生活審美化并不是整個中國社會的普遍現(xiàn)實，但伴隨著消費文化的日益成熟和發(fā)展，我們不可否認，中國城市、特別是一線大城市正在經(jīng)歷著日常生活審美化這場深刻的生活變革。 日常生活審美化與中國社會的轉(zhuǎn)型相關，同樣，新型文化媒介人也與中國社會的轉(zhuǎn)型有著密切關系，他們擁有雄厚的文化資本，，是符號的生產(chǎn)者與消費者，并深諳市場操作規(guī)則，將藝術(shù)貫穿到日常生活中。新型文化媒介人是文化產(chǎn)業(yè)的經(jīng)營型、管理型人才，在促進文化產(chǎn)業(yè)發(fā)展的同時，也推動了日常生活審美化在中國的進程。 新型文化媒介人依靠自己本身的文化資本，并借助媒體等平臺，在精英文化和大眾文化之間搭起了一座溝通的橋梁，他們在消費社會中通過文化商品的策劃、生產(chǎn)、傳播，使審美與日常生活的界限日漸消解，他們是中國日常生活審美化的主體。 雖然新型文化媒介人處于文化與市場之間的尷尬境地，但是他們認同知識分子的生活方式，保持對知識和藝術(shù)的追求，打破文化的藩籬，制造并傳播著大眾文化。我們不能否認他們“新型知識分子”的角色。此外，新型文化媒介人依舊保持著公共知識分子的批判與獨立精神，并沒有在市場經(jīng)濟中與公共領域漸行漸遠，他們在推動日常生活審美化發(fā)展的同時，也帶動公眾參與到公共領域的構(gòu)建中來。
[Abstract]:Before the 20 th century, daily life was almost unattended in the study of western philosophy. It was not until the 20 th century that German phenomenology really elevated daily life to philosophical heights. Husserl put forward the concept of "life world", and Schutz, Heidegger and Heller developed and enriched the thought of daily life from their respective perspectives. "Daily life" became a modern concept, which began with the French philosopher Lefefort, whose critical theory on daily life had a positive influence on the later studies of daily life. The appearance of "Aesthetics of Daily Life" is closely related to consumer culture in postmodern context. British sociologist Mike Featherstone first proposed "the aestheticization of everyday life". He believes that in the post-modern context, the boundary between art and everyday life has been removed, and the hierarchical difference between elegant culture and popular culture has been bridged. German aesthetician Wolfgang Welch also thinks that we are experiencing an aesthetic boom at present. He expounds the two ideas of "shallow aesthetic" and "deep aesthetic" in "Reconstruction Aesthetics". With the intensification of the trend of economic globalization, the life scene similar to the post-modern western society has appeared in China's economically developed first-tier cities one after another, and the cultural concept and lifestyle of the consumer society have been introduced from the West. Aesthetic activities have also gone beyond the scope of so-called pure art / literature, permeated into the daily life of the public, the city square, street garden and other social space and life field also appeared aesthetic / artistic activities. Although the Chinese society is still in the pre-modern, modern and post-modern multi-symbiosis pattern, the aesthetic of daily life is not the universal reality of the whole Chinese society, but with the increasingly mature and development of consumer culture, we can not deny that, Chinese cities, especially the first-tier cities, are experiencing a profound change in daily life. The aesthetic of daily life is related to the transformation of Chinese society. Similarly, the new type of cultural mediators are closely related to the transformation of Chinese society. They have strong cultural capital and are producers and consumers of symbols. And well-versed in the rules of market operation, the art runs through the daily life. The new type of cultural mediators are the managerial talents of the cultural industry, which not only promote the development of the cultural industry, but also promote the process of aestheticization of daily life in China. New cultural mediators rely on their own cultural capital and other platforms, such as the media, to build a bridge of communication between elite culture and popular culture. They plan, produce and spread cultural goods in the consumer society. They are the main body of Chinese daily life aesthetics. Although the new cultural mediators are in an awkward position between culture and the market, they agree with the way of life of intellectuals, maintain the pursuit of knowledge and art, break down cultural barriers, and create and spread popular culture. We cannot deny their role as "new intellectuals". In addition, the new cultural mediators still maintain the critical and independent spirit of the public intellectuals, and are not gradually separated from the public sphere in the market economy. While promoting the aesthetic development of their daily life, Also drive the public to participate in the construction of the public domain.
【學位授予單位】：中南民族大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：G124

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