本文選題：沃爾夫?qū)ろf爾施 + 后現(xiàn)代��； 參考：《陜西師范大學(xué)》2011年碩士論文

【摘要】：我們的時代正處于一個審美泛化的社會轉(zhuǎn)型期,在社會、政治、經(jīng)濟、文化、藝術(shù)、哲學(xué)等領(lǐng)域發(fā)生著急速而深刻的轉(zhuǎn)變。一方面,普遍性的審美化潮流席卷而來,蔓延至人類實踐的每個層面；與此同時,美又極易在轉(zhuǎn)瞬間就碎化為一個個片段。流動變化的現(xiàn)實向傳統(tǒng)美學(xué)發(fā)起挑戰(zhàn),對美學(xué)提出新的任務(wù)與要求。德國學(xué)者沃爾夫?qū)ろf爾施作為一名后現(xiàn)代美學(xué)家,洞察到這種變化,提出了“日常生活審美化”的重要命題,并進(jìn)一步把握分析產(chǎn)生這種現(xiàn)象的深層動因,進(jìn)而提出了重構(gòu)美學(xué)的設(shè)想。對韋爾施美學(xué)思想的深入研究與探討,正是對我們正在遭遇的現(xiàn)實變化的正視與回應(yīng),它為我們理解當(dāng)代問題提供了一種新的思路。本文擬從后現(xiàn)代語境入手,從后現(xiàn)代觀、日常生活審美化和重構(gòu)美學(xué)三個方面考察韋爾施的美學(xué)思想,并運用韋爾施的“橫向理性”思路進(jìn)一步考察它們之間的相互關(guān)系,力圖全面把握韋爾施的美學(xué)思想,揭示韋爾施美學(xué)的實踐性與流動性特征。 緒論部分是對韋爾施其人及其學(xué)術(shù)特點的介紹,并在總結(jié)了韋爾施美學(xué)思想的研究現(xiàn)狀、研究價值后提出本文的研究方法與研究內(nèi)容等。 第一部分剖析韋爾施的后現(xiàn)代觀,這是韋爾施美學(xué)思想形成的背景和方法論基礎(chǔ)。后現(xiàn)代是我們當(dāng)今社會的重要轉(zhuǎn)向,最近幾十年來我們的社會政治、經(jīng)濟生活、藝術(shù)、科學(xué)、哲學(xué)與理論等領(lǐng)域都發(fā)生了劇烈的變化,而學(xué)術(shù)界對于這一變化的闡述爭議頗多,后現(xiàn)代綜合來看更像是一個維特根斯坦式的“家族相似的”開放性概念。韋爾施對于后現(xiàn)代的認(rèn)定首先是從它和現(xiàn)代的關(guān)系入手的,他認(rèn)為后現(xiàn)代孕育于現(xiàn)代性之中,這個概念既包括了現(xiàn)代性業(yè)已完成的特征,也有著新的構(gòu)想,我們借助后現(xiàn)代能夠更自覺、更廣泛地地理解現(xiàn)代。多元性是后現(xiàn)代的重要品格,是我們理解后現(xiàn)代的關(guān)鍵,而“橫向理性”是后現(xiàn)代的基本思維模式。 第二部分主要探討了后現(xiàn)代狀況下的圖景,即我們當(dāng)前所遭遇的全球?qū)徝阑蛉粘Ｉ顚徝阑�。事實�?早在現(xiàn)代性中就蘊含著日常生活審美化的趨勢。對日常生活的關(guān)注是20世紀(jì)哲學(xué)的重要轉(zhuǎn)向,工具理性對日常生活的壓抑導(dǎo)致人的異化,于是人們試圖將審美經(jīng)驗引入日常生活,或發(fā)掘日常生活本身的創(chuàng)造性,以抵抗工具理性的入侵。隨著人類進(jìn)入物質(zhì)極大繁盛的消費社會,審美泛化現(xiàn)象明顯增強,不僅覆蓋生活淺表,也波及到人類生活的更深層面,甚至影響到現(xiàn)實本身的基礎(chǔ)建構(gòu),諸如緊隨新材料技術(shù)變革的物質(zhì)現(xiàn)實、作為傳媒傳遞后果的社會現(xiàn)實,以及作為自我設(shè)計導(dǎo)致的主體現(xiàn)實。導(dǎo)致這種狀況的原因是消費意識形態(tài)主宰下的享樂主義,如今它已成為我們新的文化基體。 第三部分是針對日常生活審美化的現(xiàn)狀對美學(xué)提出的新任務(wù)和新要求。韋爾施立足于審美泛化的后現(xiàn)代語境,深刻反思傳統(tǒng)美學(xué)以感性為敵、研究范圍、對象單一的局限性,運用“橫向理性”的方法分析審美概念和審美感知的含混復(fù)雜性,又以真理與審美、倫理與審美的通融為例加以說明,從而為美學(xué)學(xué)科的拓展尋找依據(jù),建構(gòu)涵蓋感知所有領(lǐng)域、超越學(xué)科界限、開放、多元的新型美學(xué),使美學(xué)成為我們理解現(xiàn)實的一個廣泛、也更普遍的媒介。 結(jié)語部分試圖以韋爾施的美學(xué)研究說明,真正的美學(xué)始終處于流動與發(fā)展之中,美學(xué)工作者應(yīng)始終從我們所認(rèn)識、所感受的現(xiàn)實出發(fā),對實踐發(fā)展的不同階段、不同領(lǐng)域的審美活動與審美對象進(jìn)行把握與認(rèn)識,以建構(gòu)或完善符合其自身發(fā)展規(guī)律的美學(xué)學(xué)科。
[Abstract]:Our time is in a period of aesthetic generalization, which has changed rapidly and profoundly in the fields of society, politics, economy, culture, art, philosophy and other fields. On the one hand, the universal aesthetic trend is sweeping and spreading to every level of human practice. At the same time, beauty is easily broken into pieces at the moment. As a postmodern Aestheticist, the German scholar Wolfgang Welsh, as a post-modern Aestheticist, pointed out the important proposition of "the aestheticization of daily life", and further made the deep motivation of the analysis of this phenomenon. The deep study and discussion of the aesthetic thought of Vern is the face and response to the actual changes we are experiencing. It provides a new way of thinking for us to understand the contemporary problems. This paper, starting with the postmodern context, examines three aspects of the postmodern view, the aestheticization of daily life and the aesthetics of reconstruction. Ca Welsh's aesthetic ideas, and the use of Welsh's "lateral rationality" to further examine the relationship between them, try to grasp the aesthetic thoughts of vershi and reveal the practical and fluidity characteristics of the Weill's aesthetics.
The introduction part is the introduction of vershi and its academic characteristics, and summarizes the research status of the Weil esthetics thought, and puts forward the research methods and research contents after the study of the value.
The first part analyses the postmodern view of versn, which is the background of the formation of Weill's aesthetic thought and the basis of methodology. Post-modernism is an important turn in our society. In recent decades, our social politics, economic life, art, science, philosophy and theory have changed dramatically in the last few decades, and the academic circles have taken this change to this change. The postmodern comprehensive view is more like a Wittgenstein type of "family similar" open concept. Vern's recognition of post modernity begins with the relationship between it and the modern. He thinks that postmodernism is conceived in modernity, which includes both the characteristics that have been completed in modernity and the concept of modernity. The new idea is that we can understand modernity more consciously and more widely with the help of postmodernism. Pluralism is the important character of post modernity, and the key to understanding postmodernism, and "lateral rationality" is the basic mode of thinking of post modernity.
The second part mainly discusses the picture of the post-modern situation, that is, the global aestheticization that we are experiencing at present, or the aestheticization of daily life. In fact, the trend of aestheticization of daily life is contained in the modern nature. The attention to daily life is the important turn of Philosophy in twentieth Century, and the repression of tool reason to daily life leads to people. Alienation, so people try to introduce aesthetic experience into daily life, or to discover the creativity of daily life itself, to resist the invasion of instrumental rationality. As human beings enter into a huge and prosperous consumer society, the phenomenon of aesthetic generalization is obviously enhanced, not only covering the shallow form of life, but also affecting the deeper surface of human life, and even affecting the reality. The basic construction of itself, such as the material reality that follows the changes in the new material technology, the social reality as the consequence of the transmission of the media, and the main reality as a result of self design, is the cause of the hedonism under the domination of consumption ideology, which has become our new cultural matrix.
The third part is a new task and new requirement for aesthetics, which is based on the post-modern context of aesthetic generalization, and is deeply reflected on the limitations of the traditional aesthetics as the enemy of sensibility, the scope of the research and the single object, and the analysis of the ambiguity of the aesthetic concept and aesthetic perception by the method of "lateral rationality". In addition, it takes the integration of truth and aesthetics, ethics and aesthetics as an example to illustrate, so as to find the basis for the development of the aesthetic subject, to construct a new aesthetics that covers all fields of perception, beyond the boundaries of disciplines, open and pluralistic, and makes aesthetics a broad and more universal medium for us to understand the reality.
The conclusion part tries to show that the real aesthetics is always in the flow and development, and the aesthetic workers should always grasp and understand the different stages of the development of practice and the aesthetic objects in different fields from the realities we know and feel. The discipline of aesthetics in the law of development.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：B83-0

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 周憲;;“后革命時代”的日常生活審美化[J];北京大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2007年04期

2 凌繼堯;;對“日常生活審美化”研究的反思[J];東南大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2007年06期

3 馮巍;;淺談大眾文化與審美——解讀《重構(gòu)美學(xué)》[J];福建廣播電視大學(xué)學(xué)報;2009年06期

4 張琦璋;陳雪梅;;美學(xué)無疆——韋爾施審美泛化理論述評[J];阜陽師范學(xué)院學(xué)報(社會科學(xué)版);2007年05期

5 李西建;消費時代的審美問題——兼對“日常生活的審美化”現(xiàn)象的思考[J];貴州師范大學(xué)學(xué)報(社會科學(xué)版);2005年03期

6 陸揚;;韋爾施論兩種“審美化”[J];遼寧大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2009年06期

7 李亞軍;;重構(gòu)美學(xué)——韋爾施對傳統(tǒng)西方美學(xué)的批判與拯救之思[J];牡丹江大學(xué)學(xué)報;2009年04期

8 余振丹;;理解韋爾施的“審美思維”[J];美與時代;2008年01期

9 章輝;;論韋爾施的后現(xiàn)代美學(xué)思想[J];上海交通大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2008年03期

10 張志國;;穿越審美化的迷霧[J];社會科學(xué)輯刊;2010年03期

相關(guān)博士學(xué)位論文 前1條

1 王卓斐;美學(xué)回家[D];山東大學(xué);2010年

，

本文編號：1918553