本文選題：儀式　切入點：慣例　出處：《復(fù)旦大學(xué)》2006年博士論文

【摘要】： 建國后，國內(nèi)美學(xué)界圍繞“美的規(guī)律”所展開的持久而熱烈的討論，多是從《手稿》的文本語境出發(fā)并堅持概念優(yōu)先，遂使討論走入迷境。這種做法既不能對《手稿》做出令人信服的解讀，也或多或少忽視了審美活動與藝術(shù)活動的具體情形。而近些年伴隨著人類學(xué)在中國的復(fù)興與重建，也帶來人文與社會科學(xué)領(lǐng)域研究視角的拓展與研究方法的變革。在現(xiàn)有學(xué)術(shù)背景下，很有必要從人類學(xué)的視角出發(fā)，對“美的規(guī)律”問題做重新審查，尤其是其中的核心概念“尺度”。 本文在主張儀式與藝術(shù)共生的前提下，將“尺度”理解為“審美尺度”，認(rèn)為它既可指藝術(shù)品在形象制作方面的規(guī)范或傳統(tǒng)，也可指人內(nèi)在的評判標(biāo)準(zhǔn)。 如果將審美尺度看成藝術(shù)制作的慣例，它常和人類其他活動(尤其是儀式)難脫干系。我們認(rèn)為：儀式作為一種文化現(xiàn)象甚至文化制度，它在延續(xù)社會傳統(tǒng)、保存族群記憶、整合族群心意狀態(tài)等方面都有重大作用，而這些作用多數(shù)情況下會借藝術(shù)與審美的手段來加以強化。當(dāng)儀式活動結(jié)束之后，由儀式所塑造或喚起的情感體驗常常會凝定在藝術(shù)品這一物態(tài)化的形式當(dāng)中，既能留給參加者反復(fù)回味和再體驗，也能讓人對審美活動形成或隱或顯的“前理解”，影響著他對現(xiàn)實事物的欣賞或評判。正因如此，當(dāng)族群為了現(xiàn)實的功利目的來舉行儀式，并讓這些儀式活動隨族群延續(xù)而作為一種傳統(tǒng)固定下來的時候，交融在儀式中的審美活動也會因此而獲得某種“慣例”意味。而這樣一來，在審美判斷中常常夾雜著功利考慮，審美尺度與相應(yīng)的文化背景有著難以斬斷的緊密聯(lián)系，并且在不同地域、不同時期和不同族群中動態(tài)生成。 如果將審美尺度看成人內(nèi)在的評判標(biāo)準(zhǔn)，那么對審美尺度的思考，常常會牽扯到對人性之復(fù)雜性的思考。毫無疑問，審美尺度背后的主體是一個在不同文化背景下被不斷建構(gòu)的主體。我們以食人儀式和圖騰崇拜儀式來分別展現(xiàn)人性中那些非常隱秘和復(fù)雜的一面，也由此彰顯社會對個體的約束和規(guī)整。在此基礎(chǔ)上我們強調(diào)：文化背景影響著人們對外在世界和自身的感知，由此也就影響到藝術(shù)制作的慣例和審美的偏好。在每個族群所特有的審美習(xí)俗或藝術(shù)制作的慣例背后，常常負(fù)載著這一族群所特有的精神觀念、文化認(rèn)知圖式。而在面對既有的文化傳統(tǒng)或藝術(shù)傳統(tǒng)時，藝術(shù)家既會受其約束，也能大膽突破，并能因自己的獨創(chuàng)性而確立新的傳統(tǒng)。 各個族群在文化交流的過程中，他們在藝術(shù)制作之慣例上的互相影響常常在所難免。我們既注意到各族群如何從本民族的文化傳統(tǒng)出發(fā)，，將外來的藝術(shù)樣式很好地嫁接在本民族藝術(shù)傳統(tǒng)之上，從而創(chuàng)造出新的藝術(shù)樣式。同樣也注意到在兩種異質(zhì)文化的交流過程中，一種強勢文化會對另一弱勢文化的肌理造成損傷，這便是審美尺度與文化交流之間的關(guān)系。
[Abstract]:After the founding of new China, Chinese scholars around the "law of beauty" by the start of the long and heated discussion, is starting from the text and context of the manuscript < > adhere to the concept of priority, then the discussion into the lost territory. This approach can not make a convincing interpretation of the manuscript < >, the specific situation is more or less ignored the aesthetic and artistic activities. In recent years, along with the Renaissance and reconstruction of anthropology in Chinese, also bring development and research methods from the perspective of the humanities and social sciences. The change in the existing academic background, it is necessary from the perspective of Anthropology, make a review of the "aesthetic rules", especially the core the concept of "the scale".
On the premise of advocating the symbiosis of ritual and art, this paper regards "scale" as "aesthetic scale". It holds that it can not only refer to the norms or traditions of art in the field of image production, but also refers to the intrinsic judgement standard of human beings.
If the aesthetic scale as art production practice, it often and other human activities (especially the ceremony) difficult to do. We think that the ceremony as a cultural phenomenon and cultural system, it is in the continuation of traditional society, save the memory of ethnic group, integrating the feeling of ethnic group are of great importance, and these functions are mostly will lend artistic and aesthetic means strengthening. When the ceremony was over, the ceremony to shape or evoke emotional experience usually coagulates in the materialized form of art, not only for participants to recollect and experience again and again, also can let a person of aesthetic activities to form either explicit or implicit "pre understanding", influenced him to the realistic things to appreciate or judge. Because of this, when the population for realistic utilitarian purpose to the ceremony, and let the ceremony with the continuation of ethnic groups as a biography When the system is fixed, blend in the ceremony in aesthetic activities will therefore have a "practice" means. And so, the aesthetic judgment often mingled with utilitarian considerations, aesthetic standards and the corresponding cultural background is closely linked to cut off, and in different regions, different periods and different dynamic generation in the population.
If the aesthetic scale of adult inner critical standard, so the scale of aesthetic thinking, often involves thinking about the complexity of human nature. There is no doubt that the subject behind aesthetic measure is a continuous construction in the different cultural background of the subject. We use ogre and totem worship ceremony ceremony to show human nature in those very secretive and complex side, thus highlighting the constraints and regular social individual. On this basis we emphasize: the cultural background affects people in the outside world and their own perception, which will affect the art production practice and aesthetic preferences. Behind the unique aesthetic practices in every ethnic group or the art of making practice, often loaded with unique to this group of spiritual concept, culture schema. And in the face of the existing cultural or artistic traditions, both will be affected by the artist Constraints can also make bold breakthroughs and establish new traditions for their own originality.
The various ethnic groups in the cultural exchange process, they influence each other in practice on art production. Often can hardly be avoided we not only pay attention to the various ethnic groups from the perspective of how the national cultural traditions, the foreign art style is very good on their own artistic tradition, from creating a new style of art also. Note that in the process of two cultures in a culture will cause damage to a weaker culture texture, which is the relationship between aesthetic dimension and cultural exchanges.

【學(xué)位授予單位】：復(fù)旦大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2006
【分類號】：J01

【引證文獻】

相關(guān)期刊論文 前3條

1 鄧偉龍;尹素娥;;儀式教育:當(dāng)代大學(xué)生素質(zhì)教育與和諧社會構(gòu)建應(yīng)當(dāng)關(guān)注的問題[J];創(chuàng)新;2008年03期

2 趙云艷;;基諾族大鼓舞的文化解讀[J];大舞臺;2012年07期

3 劉衛(wèi)英;姜娜;;近十年國內(nèi)儀式研究現(xiàn)狀綜述[J];黃山學(xué)院學(xué)報;2011年01期

相關(guān)碩士學(xué)位論文 前5條

1 王茜;馬克思文學(xué)批評的審美話語研究[D];華中師范大學(xué);2011年

2 傅霜;高校學(xué)位授予儀式的教育價值研究[D];西南大學(xué);2012年

3 趙云艷;基諾族大鼓舞的形態(tài)與流變[D];中央民族大學(xué);2012年

4 李瑩;現(xiàn)代慶典禮儀環(huán)境裝飾設(shè)計研究[D];吉林建筑工程學(xué)院;2009年

5 竇曉星;道德教育的儀式化及傳播效果研究[D];南京大學(xué);2013年

本文編號：1653436