本文選題：20世紀 + 中國��； 參考：《浙江大學》2004年博士論文

【摘要】： 本文的研究重心不是詳盡地描述審美主義在20世紀中國流變起伏的發(fā)展歷史，，而是著重闡釋20世紀中國審美主義思想的不同側面。不過，由于20世紀中國審美主義思想在不同的時間段里顯示出不同的面相，本文的總體結構安排，主要以審美主義思想在20世紀中國不同時間段里凸顯出的問題意識為中心。具體來說，第一章帶有研究綜述的性質，主要通過中西學術界對審美主義這一術語的不同用法進行簡要概述，以確立審美主義這一概念的基本理論內涵，第二章以中國古代審美主義思想與中國現(xiàn)代審美主義思想的區(qū)別為核心問題，第三章以中國現(xiàn)代審美主義思想的理論形態(tài)為核心問題，第四章以審美主義問題的政治特性為核心問題，第五章以審美主義話語形態(tài)為核心問題，第六章以審美主義與文化保守主義、浪漫主義、科學主義的區(qū)別和聯(lián)系為核心問題。 本文的主要觀點如下：一、20世紀是中國文學現(xiàn)代性進程最重要的時間段，而審美主義是透視中國文學現(xiàn)代性進程的一個重要視角。中國現(xiàn)代審美主義話語的崛起，雖然與尼采為代表的，自康德、席勒、叔本華至尼采的西方現(xiàn)代審美主義思想有著密切的關系，但中國學者在西方現(xiàn)代審美主義思想影響下所形成的審美主義思想有著自身的獨特性。二、雖然中國傳統(tǒng)美學中的儒家、道家和禪學均以不同的方式開辟出了走向審美生存的理路，但我覺得中國現(xiàn)代審美主義思想不可能由中國古代審美主義思想的胚胎自然發(fā)育而成，因為中國古代審美主義思想在總的價值取向上，企圖通過逃進“美”這個避難所里，回避“生命本身一切疑問和陌生的東西”，將蓬勃的生命封閉在虛幻的象牙塔中，一廂情愿地讓“沒有了混亂作為母床和背景”的“純粹生命”忘卻來自現(xiàn)實的種種壓力，沉迷于“美”當中孤芳自賞、自得其樂。鑒于中國古代審美主義思想具有這種面對生命擺出的后撤姿態(tài)和疏離生活的局限性，只有從近現(xiàn)代稿酬制度的建立、現(xiàn)代文學制度的 確立、現(xiàn)代公共領域的形成等具體歷史情境出發(fā)，去探究中國現(xiàn)代審美主義思想 的起源語境。三、中國現(xiàn)代審美主義的理論形態(tài)是多種多樣的，但在我看來，最 重要的是審美獨立論與審美救贖論，而且，就20世紀中國審美主義思想的演進 軌跡看，它們最集中體現(xiàn)在20一40年代。關于審美獨立的思想不應該從王國維 先生的美學思想中挖掘，而更應該到前期創(chuàng)造社和前期象征派的思想脈絡中去尋 求。闡述審美救贖論時，我不倚重被目前的學術界炒得很熱的社會批判理論，而 把關注的重心投向早已成為歷史人物的朱光潛先生和宗白華先生的審美思想，他 們兩人的思想精華和思想局限在20世紀中國審美主義理論形態(tài)中均堪稱代表。 四、伴隨著現(xiàn)代美學走向詩性化和審美化這一趨勢，我們越來越感覺到審美不只 是關乎個人陶情冶性的小問題，局限于審美內部已很難探究清楚審美主義的實 質。就中國20世紀50一70年代的具體情形來看，那無疑是一個對文學藝術的發(fā) 展構成很大障礙的政治環(huán)境，卻恰恰又是文學作品出版得最多的一個時代。我認 為，從現(xiàn)代性進程來看，20世紀50一70年代是中國現(xiàn)代化進程的“典型過渡階 段”，對“文藝大躍進”進行詩學考察，并將“文革文學”作為政治唯美主義的 巔峰之作來解讀，我們不僅能看到假道美學解決政治問題的極致化表現(xiàn)，更能透 視中國現(xiàn)代審美主義問題的政治特性。五、審美主義思想在文論界流播的直接后 果是審美主義話語的盛行，或者反過來說，審美主義話語在文論界的盛行，讓我 們清晰地看到了審美主義思想的崛起。我認為，審美主義話語的基本特征表現(xiàn)為 以下兩個方面:一是文學理論領域顯示出濃重的美學化傾向，二是帶著強烈個體 情緒反應的詩意言說成為一個時代文學理論話語的時代標志。以這兩個基本特征 來衡量，20世紀80年代顯然是一個審美主義勃興的時代，而隨著80年代的浮 華和激情成為歷史陳跡，90年代以來以語言論轉向為過渡，以學術規(guī)范化、新 理性精神的提出和文化研究熱潮的興起為標志，審美主義話語走向了式微。 _」-
[Abstract]:The focus of this study is not to describe the history of the development of aestheticism in China in twentieth Century, but to explain the different aspects of the Chinese aestheticism in the twentieth Century. However, because of the different faces of the Chinese aestheticism in the different periods of the twentieth Century, the overall arrangement of this article is mainly on trial. In twentieth Century, the ideology of Americanism highlighted the problem consciousness in different periods of China. In particular, the first chapter contains the nature of the research review, mainly through the brief overview of the different uses of the term aestheticism in the Chinese and western academia, in order to establish the basic theoretical connotation of the concept of aestheticism, and the second chapter is Chinese ancient. The third chapter takes the theoretical form of Chinese Modern Aestheticism as the core issue. The fourth chapter takes the political characteristics of the aestheticism as the core problem, the fifth chapter takes the aesthetic discourse form as the core problem, and the sixth chapter is aestheticism and culture. The distinction and connection between conservatism, romanticism and scientism are the core issues.
The main points of this article are as follows: first, twentieth Century is the most important period in the course of the modernity of Chinese literature, and the aestheticism is an important perspective of the perspective of the modernity of Chinese literature. The rise of modern Chinese aesthetical discourse, although represented by Nietzsche, is from Kant, Schiller, Schopenhauer to Nietzsche's modern western aestheticism. There is a close relationship between thought, but the aesthetic ideology formed by Chinese scholars under the influence of modern western aestheticism has its own uniqueness. Two, although Confucianism, Taoism and Zen in Chinese traditional aesthetics have opened the way to aesthetic survival in different ways, but I think the Chinese Modern Aestheticism thought. It is impossible to develop naturally from the embryo of ancient Chinese aestheticism, because in the general value orientation of ancient Chinese aestheticism, it tried to escape into the refuge of "beauty", evade "all questions and strange things of life itself", and closed its vigorous life in the fantasy ivory tower and let it be wishful. The "pure life without chaos as the mother bed and the background" forgets the pressure from the reality and is obsessed with the self admiration and enjoyment of the "beauty". In view of the Chinese ancient aestheticism thought with the retreating posture facing life and the restriction of the alienation of life, it is only from the establishment of the modern system of remuneration. Literary system
Based on the establishment of modern public sphere and other specific historical situations, we should explore the modern aestheticism of China.
Three, the theoretical form of Chinese modern aestheticism is varied, but in my view, the most
What is important is the theory of aesthetic independence and aesthetic redemption, and the evolution of Chinese aestheticism in the twentieth Century.
They are most concentrated in the 20 year 40s. The idea of aesthetic independence should not be from Wang Guowei.
It should be excavated in his aesthetic thought, and should be sought in the ideological context of early creation society and early symbolism.
When I expound the theory of aesthetic redemption, I do not rely on the critical theory of social criticism, which is very heated by the current academic circles.
The focus of attention has been placed on the aesthetic thoughts of Mr. Zhu Guangqian and Mr. Zong Baihua, who have long been the historical figures.
The ideological essence and ideological limitations of the two of them are all representative of the aesthetic theory form of China in the twentieth Century.
Four, along with the trend of modern aesthetics moving towards poeticization and aestheticization, we feel more and more that aesthetics is more than just.
It is a small problem related to the individual's temperament and temperament, and it is difficult to find out the truth of aestheticism in the interior of aesthetics.
In terms of the specific situation of China's 50 and 70s twentieth Century, it is undoubtedly a literary and artistic development.
The political environment that constitutes a great obstacle is precisely the era where literary works have been published most.
From the perspective of modernity, twentieth Century 50 and 70s are the typical transitional stages of China's modernization process.
"Poetry" and "Cultural Revolution Literature" as political aestheticism.
To interpret the peak work, we can not only see the extreme performance of false aesthetics in solving political problems, but also be able to penetrate thoroughly.
The political characteristics of modern Chinese aestheticism. Five, the direct dissemination of aestheticism in literary circles.
Fruit is the prevalence of aestheticism discourse, or conversely, the popularity of aestheticism discourse in literary circles has left me.
We clearly see the rise of aestheticism. I think the basic features of aestheticism discourse are
The following two aspects: first, the field of literary theory shows a strong aesthetic tendency; two, with strong individuals.
The poetic expression of emotional response has become the epoch mark of the literary theory discourse of the times. Based on these two basic characteristics
To measure, 1980s is clearly an era of aestheticism, and with the floating of 80s.
Hua and passion have become history. Since 90s, they have changed from linguistic theory to academic standardization.
The emergence of rational spirit and the upsurge of cultural research marked the decline of aestheticism discourse.
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【學位授予單位】：浙江大學
【學位級別】：博士
【學位授予年份】：2004
【分類號】：B83-092

【引證文獻】

相關博士學位論文 前2條

1 宋新娟;中醫(yī)傳統(tǒng)圖式符號審美及應用研究[D];武漢理工大學;2010年

2 梁桂蓮;審美的訴求[D];華中師范大學;2009年

本文編號：2093944