本文關(guān)鍵詞：生存論視野下的審美超越問題研究　出處：《首都師范大學》2012年博士論文　論文類型：學位論文

  更多相關(guān)文章： 審美超越 生存論 內(nèi)在超越 境界的提升 個體自由 審美體驗

【摘要】：審美超越深深植根于人的生存和生存的超越性,因而也是一個歷久彌新、言說不盡的話題。古今中外的思想家們對此不乏睿智之思,現(xiàn)代人的生存困境又促使人們重新審視審美的超越性問題。審美超越是一種內(nèi)在超越和現(xiàn)世的詩意超越,它是對生存的終極關(guān)懷,對于理想人格及生命境界的美的追求；它將人類帶回到生存的本質(zhì),使存在得以澄明,“人生在世”得以詩意般的彰顯出來。本論文從生存論的角度探求了審美超越的根據(jù),深入挖掘了審美超越與人的生存以及生存超越之間的本體關(guān)聯(lián),闡明了審美超越的精神特質(zhì)和終極旨歸,考察了審美超越的維度、相度和心理機制,最后再次回到當下現(xiàn)實,分析了審美超越的現(xiàn)實境遇以及在審美泛化的時代背景下,審美超越精神應該何去何從。通過對審美超越的全方位考察,本論文意在闡明,審美精神本然地具有超越性維度。審美的超越性是植根于人性的自我超越訴求,這一優(yōu)良傳統(tǒng)不應該被遺棄。時代在發(fā)展,審美觀念在發(fā)生改變,審美活動的內(nèi)容日益豐富,在此,我們回顧歷史和傳統(tǒng),回顧審美的哲學之根,返本開新,在變與不變的交鋒中,執(zhí)守人性的價值標尺。 論文包括緒論、主體部分和結(jié)語。主體部分共分六章。 “緒論”部分考察了論題的時代背景和研究現(xiàn)狀。論文首先從宏觀的角度分析了現(xiàn)代人精神迷失的生存狀態(tài)；接著對新時期以來的中國美學界在審美與人的生存和超越問題上的研究作了簡要的述評；進而辨析了審美超越與哲學超越和宗教超越等其它超越形式的區(qū)別,在此基礎(chǔ)上闡明了審美超越的獨特內(nèi)涵和價值取向,最后逐章交代了本文的運思路徑。 第一章“從實體論到生存論：西方美學的超越精神”考察了從柏拉圖到海德格爾的西方哲學在審美超越問題上的觀念演變,在此基礎(chǔ)上試圖闡明在討論審美超越問題時所應具有的生存論立場。審美超越應當立足于生存論而非實體論,它源于人的生存并歸于人的生存,最終落腳為“存在的澄明”和“詩意的棲居”。 第二章“從‘藝通于道’到境界的彰顯：中國傳統(tǒng)哲學中的生存與超越”考察了從先秦到唐宋時期的中國傳統(tǒng)文化中的審美超越思想。文章指出,中國文化中的審美超越思想歷經(jīng)了先秦時期的“藝通于道”,魏晉玄學的“體無”,唐宋時期的“妙悟”,最終落腳為“境界”�！熬辰纭弊鳛橐环N非實體化的存在境域的顯現(xiàn)可以和海德格爾的“詩意的棲居”相媲美,從而實現(xiàn)中西美學在審美超越問題上的完美對接。 第三章“審美超越與自由”考察審美超越的終極目標和維度。審美超越的終極目標是為了提升個體的生存境界,實現(xiàn)個體的生命自由。這種自由不是認識論意義上的自由,而是生存論意義上的自由。它的實現(xiàn)包含以下三個維度：首先,審美是對日常生活的超越。審美立足于日常生活世界,卻又超越了日常生活的增庸性和刻板性,通過日常經(jīng)驗的“陌生化”和日常意識的“中斷”,將人類帶回到生存的本質(zhì),使存在的意義得以澄明。第二,審美足對感性、理性的雙重超越。審美作為一種無利害的自由愉悅,既不依附于感官的快樂,也不受制于理性的強迫,因而實現(xiàn)著對感性和理性的雙重超越。第三,審美足對主客二分的超越。審美活動不是主體對客體的認識活動,而是主體間的交往與對話。審美主體在一種物我兩忘的生命體驗中,超越主客的隔閡和狄隘的個體自我意識,而進入“天地與我并生,萬物與我為一”的人生大境界,并最終達成個體生命意義的完滿和個體精神的自由充實。 第四章考察審美超越的相度。審美超越是在對應相度的圓融統(tǒng)一過程中達成的。這種相度圓融包括四種基本形態(tài)：一是現(xiàn)實性與理想性的統(tǒng)一,審美超越立足于現(xiàn)實而憧憬理想,關(guān)注應然性和可能性,寓審美超越于理想性之中·。二是有限性與無限性的統(tǒng)一,審美超越是在有限中探尋無限,無限存在于有限性之中。三是個體性與社會性的統(tǒng)一,審美活動既立足于個體經(jīng)驗又足對個體經(jīng)驗和個體意識的超越,它是以個體的方式傳達對整個人類生存狀態(tài)的關(guān)注。審美的個體性不是超脫于社會之外的,而是包含著社會歷史特征,是社會歷史的生成物。四是形而下與形而上的統(tǒng)一,審美超越是對形而下的反思和對形而上的追求,關(guān)注于形而上的境界創(chuàng)成,根源于對人的存在的終極意義的追問和終極價值的追求。 第五章“審美超越與審美體驗”考察了審美超越的心理機制。審美超越是種內(nèi)在超越和自我超越,它不是建基于某種外在于主體的超驗之物,而是在主體的體驗活動中發(fā)生。審美和藝術(shù)正是在體驗中消泯了主客體的對峙,而達到一種全新的主客體融合的境界。此種融合之所以能得以發(fā)生,就在于審美知覺、審美情感、審美想象等多種心理因素的參與和互動。在審美體驗活動中,審美知覺、審美情感、審美想象都具有超越的特質(zhì)和超越之美,而審美主體作為審美知覺、審美情感、審美想象的主體則具有自我超越的潛質(zhì)和潛能。在此關(guān)系域中,審美知覺是審美超越的起點和前提；審美情感是審美超越的引擎和動力；審美想象是審美超越的翅膀。正是在知覺、情感、想象等多種心理因素的交融、重疊、震蕩的過程中,審美體驗自然而然地發(fā)生,同時審美主體也從心理上完成了審美超越。 第六章“審美泛化時代的審美超越圖景”將審美超越置于大眾文化和日常生活審美化的當代語境中,考察審美超越精神的時代困境與出路。在后現(xiàn)代和大眾文化的背景下,審美和藝術(shù)沖破了傳統(tǒng)美學的藩籬,泛化到日常生活中。日常生活被越來越多的藝術(shù)品質(zhì)所充滿。然而,審美和藝術(shù)在日常生活化的同時,也正日益喪失其精神超越性的維度,淪為感官的即時消費和本能欲望的表達。當此之時,有必要重新強調(diào)審美的超越性,以救當代審美文化形而下的感性趨勢和物化傾向之流弊。我們在剖析審美泛化的時代現(xiàn)象時,必須秉承批判的精神,認清在審美泛化的表象背后所隱藏的審美的商業(yè)化、庸俗化的實質(zhì),在批判的反思中重建審美的超越之維。
[Abstract]:Beyond the existence and survival of the aesthetic transcendence is deeply rooted in the people, so it is a timeless topic. Do not speak, thinkers at all times and in all countries no lack of wisdom in thinking, the plight of modern people's life and urges people to re-examine the issue of aesthetic transcendence. Aesthetic transcendence is an inherent poetic transcendence and earthly transcendence and it is the ultimate concern for life, for the ideal personality and life realm of the pursuit of beauty; it will be brought back to the essence of human existence, to clarify, "life" is a poetic manifested. This thesis from the angle of existentialism to explore the aesthetic transcendence to excavate the aesthetic transcendence with the human survival and survival beyond between ontology Association, expounds the spirit of aesthetic transcendence and ultimate purport, examines the aesthetic transcendence dimension, phase degree and psychological mechanism, and finally Back to reality, analyzes the real situation of aesthetic transcendence and background in aesthetic generalization era, aesthetic transcendence should decide on what path to follow. Based on the comprehensive investigation of aesthetic transcendence, this thesis aims to expound the aesthetic spirit, corresponding to the transcendent dimension. Aesthetic transcendence is rooted in humanity's self transcendence, this a good tradition should not be abandoned. In the era of development, aesthetic changes, aesthetic activity is rich in contents here, we review the history and tradition of philosophy, aesthetic review, returning to the new, changed and unchanged in battle, to gauge the value of keep humanity.
The thesis includes the introduction, the main part and the conclusion. The main part of the thesis is divided into six chapters.
The "Introduction" part of the study of the background and research status of the topic. Firstly, analyzed from the macroscopic angle lost the spirit of modern people's living condition; then study on survival and Transcendence of human aesthetic and aesthetic China circles since the new period made a brief review and analysis of the transcendence of aesthetic transcendence; with philosophy and religion and so on other forms beyond the distinction, to clarify the basis of aesthetic transcendence in its unique connotation and value orientation, the last chapter it introduced the thinking path.
The first chapter "from ontology to Existentialism: beyond the spirit of western aesthetics study western philosophy from Platon to Heidegger in the aesthetic transcendence on the concept of evolution, on the basis of trying to clarify in the discussion of aesthetic transcendence problem should have existential aesthetic transcendence. Position should be based on the existential and non entity the survival theory, which originates from human to human survival," eventually settled for the clarification of existence "and" poetic dwelling ".
The second chapter "from the" art on the road to the show: "the realm of existence and Transcendence" Chinese in traditional philosophy was investigated from the Qin Dynasty to the Tang and Song Dynasties China traditional culture aesthetic transcendence in thought. The article points out that the thought of aesthetic transcendence through the pre Qin period "Art to" China culture, Wei and Jin Dynasties "no," the metaphysics of Tang and Song Dynasty "Miaowu", eventually settled for the "realm". "Existence manifest realm" as a non entity and Heidegger's "poetic dwelling" comparable, so as to realize the perfect integration of Chinese and Western Aesthetics in the Aesthetic Transcendence on the issue.
The third chapter is "aesthetic transcendence" and "freedom" of the ultimate goal and the dimension of aesthetic transcendence. The ultimate goal is to enhance the aesthetic realm of life of the individual, the individual freedom of life. This freedom is not in epistemological sense of freedom, but the survival of the sense of freedom. It contains the following three aspects: first that is beyond the aesthetic of daily life aesthetics. Based on the daily life of the world, but beyond the daily life and increase Yong stereotype, through the daily experience of "Defamiliarization" and daily consciousness "interrupt", will be brought back to the essence of human existence, which exists to clarify the meaning of aesthetic. Second. The foot of sensibility, double beyond reason. As a kind of aesthetic pleasure free disinterestedness, neither cling to sensual pleasures, is not subject to the rational force, thus realizing the dual super emotional and rational The third, two points on foot beyond the aesthetic subject. Aesthetic activity is not the subjective cognition activity of the object, communication and dialogue between the main aesthetic subject. But in a two things I forgot the life experience, transcend barriers and di narrow self - consciousness, and enter the day with me and, all things with me for life realm ", and eventually reached the significance of individual life perfect and enrich the freedom of individual spirit.
The fourth chapter examines the aesthetic transcendence of aesthetic transcendence. Is reached in the corresponding phase of the perfect unity. In the process of the degree of harmony includes four basic forms: one is the unity of realism and idealism, aesthetic transcendence based on the reality and the ideal, necessity and possibility of attention, which transcends the aesthetic the ideal of. Two is the unity of finity and infinity, aesthetic transcendence is infinite to explore in the finite, infinite in limited. Three is the unity of individual and social, aesthetic activity is based on individual experience and Transcendence of individual experience and individual consciousness, it is to convey survival the state of the whole human attention to the individual. The individual aesthetic is not detached from the society, but a social and historical characteristics, is a product of social history. Four is the unity and metaphysical, aesthetic is beyond The reflection on form and pursuit for metaphysics focus on the metaphysical realm, which is rooted in the questioning of the ultimate meaning of human existence and the pursuit of ultimate value.
The fifth chapter is "aesthetic transcendence and aesthetic experience" examines the aesthetic transcendence of aesthetic transcendence is a kind of psychological mechanism. Internal transcendence and self transcendence, it is not based on a transcendental subject matter, but in the main experience of the activities. It is in the art and aesthetic experience in the end of the main object of the confrontation as a subject, a new fusion realm. This fusion can happen, lies in the aesthetic consciousness, aesthetic emotion, aesthetic imagination and participation and interaction of a variety of psychological factors. In the aesthetic experience, aesthetic perception, aesthetic emotion, aesthetic imagination is beyond character and beauty, and as aesthetic subject, aesthetic consciousness, aesthetic emotion, aesthetic imagination with self transcendence potentials. This relationship in the field of aesthetic perception is the premise and starting point of aesthetic transcendence; aesthetic emotion Aesthetic imagination is the engine and driving force of aesthetic transcendence. Aesthetic imagination is the wings of aesthetic transcendence. It is the aesthetic experience that occurs naturally in the process of blending, overlapping and concussion, such as perception, emotion, imagination and so on. At the same time, the aesthetic subject also completes the aesthetic transcendence from psychological aspect.
The sixth chapter is "aesthetic transcendence picture" aesthetic generalization era of aesthetic transcendence in popular culture and the aestheticization of daily life in the contemporary context, explores the historical predicament and outlet of aesthetic transcendence spirit. In the modern and popular culture background, aesthetic and artistic aesthetics breaks through the traditional barriers of generalization in the daily life. Everyday life is more and more full of artistic quality. However, aesthetic and art in daily life at the same time, also has lost its spiritual transcendence dimension, expression becomes sensuous instant consumption and instinctive desire. At this time, it is necessary to emphasize the aesthetic transcendence, emotional and physical abuse tendency in order to save the tendency of contemporary aesthetic culture and the US. In the era of phenomenon of aestheticization, must uphold the spirit of criticism, recognize the hidden behind the appearance of the aesthetic aesthetic generalization. The essence of commercialization and vulgarization is to rebuild the dimension of aesthetic transcendence in critical reflection.

【學位授予單位】：首都師范大學
【學位級別】：博士
【學位授予年份】：2012
【分類號】：B83-02

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