【摘要】：研究時(shí)尚的理論路徑有多種，社會(huì)學(xué)的、人類學(xué)的、經(jīng)濟(jì)學(xué)的等等，這些理論瞄準(zhǔn)的是時(shí)尚現(xiàn)象中的階級(jí)關(guān)系、人類心理、生產(chǎn)規(guī)律諸如此類。本文旨在把時(shí)尚研究置于一種美學(xué)視域內(nèi)，考察時(shí)尚消費(fèi)中的各種情感、夢(mèng)想、幻覺，以及當(dāng)代人在迅捷變化的潮流中的心靈狀態(tài)與審美體驗(yàn)。 有關(guān)時(shí)尚文化、生活方式的討論很容易地與“日常生活的審美呈現(xiàn)”這一命題聯(lián)系起來。它是英國人費(fèi)瑟斯通在他研究后現(xiàn)代主義和消費(fèi)文化的過程中提出來的。藝術(shù)與生活界限的消解、充斥于日常生活的符號(hào)影像之流以及變生活為藝術(shù)品的謀劃構(gòu)成了這一命題的內(nèi)容。在這樣一些思路和視角的啟發(fā)下，我從三個(gè)方面探討了時(shí)尚這一日�，F(xiàn)象背后的審美內(nèi)容： 首先是時(shí)尚消費(fèi)中的影像、符號(hào)之流。當(dāng)代時(shí)尚工業(yè)是與影像技術(shù)、傳媒工業(yè)的發(fā)展密不可分的。時(shí)尚生產(chǎn)不僅是紡織品的生產(chǎn)，更是一種符號(hào)和幻境的生產(chǎn)；時(shí)尚消費(fèi)不僅是對(duì)物質(zhì)有用性的消費(fèi)也是對(duì)形象、夢(mèng)想、欲望的消費(fèi)。在這部分我將通過對(duì)品牌、廣告、模特以及某些具體穿衣實(shí)踐的分析，，來展現(xiàn)平庸衣物之上那個(gè)令人迷醉的幻覺世界。 第二是潮流變換中的審美情懷。時(shí)間感是時(shí)尚存在的一個(gè)重要維度，時(shí)尚是一個(gè)體驗(yàn)過程，它處于一種迅捷更新又不斷循環(huán)的狀態(tài)。這部分我試圖探討的就是新潮和回潮這兩個(gè)并行的主題背后，主體的心靈狀態(tài)和審美情趣。 第三是時(shí)尚與藝術(shù)的關(guān)系。生活與藝術(shù)的關(guān)系是“日常生活的審美呈現(xiàn)”的主題之一，也是歷來的美學(xué)傳統(tǒng)經(jīng)常思考的問題。時(shí)尚是否是藝術(shù)化生存的
[Abstract]:There are a variety of theoretical approaches to fashion, sociological, anthropological, economic, and so on. These theories aim at class relations in fashion phenomena, human psychology, production laws, and so on. The purpose of this paper is to put the study of fashion into an aesthetic perspective, to examine the emotions, dreams, hallucinations, and the mental state and aesthetic experience of contemporary people in the rapidly changing trend of fashion consumption. The discussion about fashion culture is easily linked to the proposition of "aesthetic presentation of daily life". It was put forward by the Englishman Featherstone in his study of post-modernism and consumer culture. The deconstruction of the boundary between art and life, the flow of symbols and images of daily life and the design of changing life into art constitute the content of this proposition. Inspired by such ideas and perspectives, I discuss the aesthetic content behind the daily phenomenon of fashion from three aspects: first, the image in fashion consumption, the stream of symbols. Contemporary fashion industry is inseparable from the development of image technology and media industry. Fashion production is not only the production of textiles, but also the production of symbols and illusions. Fashion consumption is not only the consumption of material usefulness but also the consumption of image, dream and desire. In this part, I'm going to analyze brands, advertisements, models, and some specific clothing practices to show the intoxicating world of illusion over mediocre clothing. The second is the aesthetic feelings in the trend change. Sense of time is an important dimension of fashion, fashion is an experience process, it is in a state of rapid renewal and continuous circulation. In this part, I try to explore the state of mind and aesthetic interest of the subject behind the parallel themes of the new trend and the return trend. The third is the relationship between fashion and art. The relationship between life and art is one of the themes of "aesthetic presentation of daily life". Whether fashion exists artistically
【學(xué)位授予單位】：四川大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2006
【分類號(hào)】：J02

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 李丹;對(duì)時(shí)尚體育運(yùn)動(dòng)的社會(huì)學(xué)解析[D];吉林大學(xué);2009年

2 張靜;時(shí)尚體操基本理論研究[D];首都體育學(xué)院;2012年

本文編號(hào)：2165409