本文選題：審美無功利性命題　切入點(diǎn)：西方美學(xué)　出處：《鄭州大學(xué)》2008年碩士論文

【摘要】：審美無功利性命題是在18世紀(jì)確立的西方現(xiàn)代美學(xué)的核心命題,它既是現(xiàn)代西方美學(xué)理論體系的基礎(chǔ)和重要傳統(tǒng),也推動了美學(xué)學(xué)科在18世紀(jì)的誕生和獨(dú)立并對后來的西方美學(xué)產(chǎn)生了巨大而深遠(yuǎn)的影響。 審美無功利性命題雖然確立于18世紀(jì),但是18世紀(jì)以前西方美學(xué)家關(guān)于美的理想的思考成果已經(jīng)為這個命題的出現(xiàn)做好了必要的準(zhǔn)備,概括而言有兩點(diǎn):一是人們探討美的問題的注意力從自然界轉(zhuǎn)移到了社會生活,二是美擺脫了對善和真的依賴而取得了相對獨(dú)立的地位。 西方哲學(xué)史上的二元論傳統(tǒng)也為審美無功利性命題的提出提供了支持,不過這一命題得以提出的直接思想背景是18世紀(jì)人們對經(jīng)驗(yàn)的重視。審美無功利性命題最早在英國經(jīng)驗(yàn)派美學(xué)家那里被從一個倫理學(xué)命題改造成了一個美學(xué)命題,并在德國批判哲學(xué)家康德那里最終被確定為美學(xué)的核心命題,審美不涉及功利也成了西方當(dāng)代美學(xué)的第一原理。 作為現(xiàn)代西方美學(xué)的核心命題,審美無功利性命題在當(dāng)代西方美學(xué)界遭到了普遍的批判和否定,其原因在于當(dāng)代西方審美現(xiàn)象出現(xiàn)了兩個顯著的發(fā)展趨向,一是美向社會的生成,表現(xiàn)在日常生活審美化;另一個趨向則是美向自然生成,集中體現(xiàn)在環(huán)境美學(xué)的興起。與此同時,藝術(shù)的界限也越來越寬、越來越模糊。日常生活審美化要求取消審美與日常生活之間的距離,環(huán)境美學(xué)家們則主張建立一種支持審美主體更親近審美客體的美學(xué)理論,而藝術(shù)界限的模糊則消解了藝術(shù)與生活的界限。審美無功利性命題曾促成了審美與日常生活的分裂,審美主體與審美客體之間的距離以及藝術(shù)與生活的隔離,在審美與日常生活相融、審美主體與審美客體相親以及藝術(shù)向生活回歸的背景下,審美無功利性命題的理論傾向性顯得格格不入了。不過,審美無功利性命題并沒有完全失效,只要它所表現(xiàn)的理論傾向不指向分裂、孤立、隔離而只是表征一種審美主體對審美客體的適當(dāng)尊重的話,那它就有與許多批判它的理論進(jìn)行和解的可能性。 本文分三章,第一章主要梳理18世紀(jì)以前古希臘時期、古羅馬時期以及中世紀(jì)到文藝復(fù)興時期關(guān)于美的理想與功利關(guān)系的思想材料,指出這段時間里為審美無功利性命題的提出和確立準(zhǔn)備了哪些條件;第二章主要?dú)w納審美無功利性命題得以被確立的思想背景,梳理它被確立為美學(xué)核心命題的理論進(jìn)程,以及指出這一命題被確立為美學(xué)核心命題之后所產(chǎn)生的理論影響;第三章主要考察在美向社會和自然生成以及藝術(shù)界限不斷模糊的背景下,審美無功利性命題遭到了怎樣的批判,指出審美無功利性命題是否還有效以及在何種意義上有效,也即這一命題的當(dāng)代命運(yùn)。
[Abstract]:Aesthetic non-utilitarian proposition is the core proposition of western modern aesthetics established in the 18th century. It is the foundation and important tradition of modern western aesthetics theory system. It also promoted the birth and independence of aesthetics in the 18 th century and had a great and profound influence on the later western aesthetics. Although the proposition of aesthetic non-utilitarianism was established in the 18th century, before the 18th century, Western aestheticians' thinking achievements on the ideal of beauty have made the necessary preparations for the emergence of this proposition. To sum up, there are two points: first, the attention of people to the issue of beauty has shifted from nature to social life, and second, beauty has gained a relatively independent position by getting rid of the dependence on goodness and truth. The tradition of dualism in the history of western philosophy also supports the proposition of aesthetic non-utilitarianism. However, the direct ideological background of this proposition was the importance people attached to experience in the 18th century. The proposition of aesthetic non-utilitarianism was first transformed from an ethical proposition into an aesthetic proposition by the British empiricist aestheticians. Kant, a German critical philosopher, was finally identified as the core proposition of aesthetics. Aesthetics without involving utilitarianism has become the first principle of contemporary western aesthetics. As the core proposition of modern western aesthetics, aesthetic non-utilitarian proposition has been widely criticized and denied in contemporary western aesthetic circles. The reason is that there are two remarkable developing trends in contemporary western aesthetic phenomena. One is the appearance of beauty to society, which is manifested in the aesthetic appreciation of daily life; the other is the emergence of beauty towards nature, which is embodied in the rise of environmental aesthetics. At the same time, the boundaries of art are becoming wider and wider. The aesthetic of daily life requires the elimination of the distance between aesthetics and daily life, while environmental aestheticians advocate the establishment of an aesthetic theory that supports the aesthetic subject to be closer to the aesthetic object. But the blurring of the artistic boundary dissolves the boundary between art and life. The proposition of aesthetic non-utilitarianism has contributed to the division between aesthetics and daily life, the distance between aesthetic subject and aesthetic object, and the separation between art and life. Under the background of the fusion of aesthetics and daily life, the relationship between aesthetic subject and aesthetic object, and the return of art to life, the theoretical tendency of aesthetic non-utilitarian proposition is out of place, but the proposition of aesthetic non-utilitarian is not completely invalid. As long as its theoretical tendency does not point to splitting, isolating, isolating, but merely characterizing an aesthetic subject's proper respect for the aesthetic object, then it has the possibility of conciliating with many theories that criticize it. This paper is divided into three chapters. The first chapter mainly combs the ideological materials on the relationship between the ideal and utility of beauty in the period of ancient Greece, ancient Rome and the Middle Ages to the Renaissance before the 18th century. It points out what conditions have been prepared for the proposition of aesthetic non-utilitarianism in this period of time, the second chapter mainly summarizes the ideological background that the proposition of aesthetic non-utilitarianism has been established, and combs the theoretical process that it is established as the core proposition of aesthetics. It also points out the theoretical influence of this proposition after it was established as the core proposition of aesthetics. Chapter three mainly examines the background of the social and natural generation of beauty and the blurring of artistic boundaries. How to criticize the proposition of aesthetic non-utilitarianism points out whether and in what sense the proposition of aesthetic non-utilitarianism is still valid, that is, the contemporary destiny of this proposition.
【學(xué)位授予單位】：鄭州大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2008
【分類號】：B83-0

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 李齊;無設(shè)計觀念的美術(shù)研究[D];山東大學(xué);2013年

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本文編號：1696266