【摘要】：審美生活轉(zhuǎn)向的發(fā)生與消費(fèi)主義有著深刻的關(guān)聯(lián)。大眾消費(fèi)主義文化的歷史發(fā)展中隱含著審美生活轉(zhuǎn)向的文化邏輯。消費(fèi)主義的興起是一個(gè)現(xiàn)代性事件。作為一種新的意識形態(tài),消費(fèi)主義的蔓延構(gòu)成了一種新的文化語境。它引起了人文學(xué)科生存語境及其話語方式的變化,改變了人類審美的既成文化環(huán)境和背景,使得人類的審美觀念和審美實(shí)踐發(fā)生了巨大的變革。消費(fèi)和消費(fèi)主義是后現(xiàn)代社會(huì)的核心和動(dòng)力,文化正是消費(fèi)社會(huì)本身的要素。以符號和影像為主要特征的后現(xiàn)代消費(fèi)本質(zhì)上是一種文化活動(dòng),它摧毀了文化的界標(biāo),加速了現(xiàn)實(shí)的內(nèi)爆,模糊了高貴與低賤、神圣與世俗、真實(shí)與虛構(gòu)乃至文化與自然的邊界,導(dǎo)致了審美與生活、審美與非審美區(qū)別的消解。藝術(shù)和審美的自律性被打破了,美學(xué)的封閉性開始向?qū)嵺`性領(lǐng)域和文化化語境充分開放,審美由逼仄的藝術(shù)的王國轉(zhuǎn)向了廣闊的感知領(lǐng)域,轉(zhuǎn)向以視覺影像和快感體驗(yàn)為核心的生產(chǎn)。審美風(fēng)尚、格調(diào)、趣味漸趨豐富多樣,變動(dòng)不居。審美的功利性和實(shí)用性借助享樂主義的沖動(dòng)亦開始浮出水面。在由消費(fèi)主義與審美關(guān)聯(lián)而成的問題叢結(jié)中,身體與欲望、視覺與影像、娛樂與休閑等正在凸現(xiàn)出來,蔓延在社會(huì)的各個(gè)層面,鮮明地表征著消費(fèi)文化語境下人類的審美觀念和審美實(shí)踐上正進(jìn)入鮑德里亞所謂的“超美學(xué)”或“后美學(xué)”時(shí)代。 審美生活轉(zhuǎn)向最為重要的一個(gè)表征是日常生活以審美的形式呈現(xiàn)出來。與傳統(tǒng)審美主義相比,這一“形式”有其自身的秘密。它不再以個(gè)體的主體性為基石,不再以個(gè)體的生命經(jīng)驗(yàn)為存在方式,不再是主體解放和自由選擇的過程和結(jié)果,而是消費(fèi)文化或文化工業(yè)操縱和控制的被動(dòng)現(xiàn)實(shí)。在消費(fèi)主義的文化語境中,審美和消費(fèi)都是作為一種生活方式和價(jià)值觀念表征出來。審美借助消費(fèi)等完成了對日常生活的殖民化過程,日常生活被賦予了形式,審美也獲得了日常性。審美成為生活的指導(dǎo)原則和策略,成為一種自足的社會(huì)指導(dǎo)價(jià)值。作為一種日常生活的意識形態(tài),它鮮明地滲透在生活方式的形象生產(chǎn)和欲望消費(fèi)中。美在更多的時(shí)候成為消費(fèi)社會(huì)欲望機(jī)器上的潤滑劑,成為欲望的感性顯現(xiàn),成為消費(fèi)主義文化識形態(tài)的一種藝術(shù)包裝。日常生活中的審美呈現(xiàn),在很大程度上是消費(fèi)主義文化意識形態(tài)制造的幻象。在表面的審美大眾化、民主化背后所風(fēng)行的泛審美意識只不過是一種偽審美精神;真正的生活世界的審美化還是一項(xiàng)未竟的現(xiàn)代性工程。因此,在消費(fèi)取代政治,成
[Abstract]:The turn of aesthetic life is deeply related to consumerism. The historical development of mass consumerism culture implies the cultural logic of the turning of aesthetic life. The rise of consumerism is a modernity event. As a new ideology, the spread of consumerism constitutes a new cultural context. It causes the change of the living context and discourse mode of the humanities subject, changes the existing cultural environment and background of human aesthetics, and makes great changes in the aesthetic concept and practice of human beings. Consumption and consumerism are the core and motive force of post-modern society, and culture is the essential factor of consumer society itself. Post-modern consumption, characterized by symbols and images, is essentially a kind of cultural activity, which destroys the boundary of culture, accelerates the implosion of reality, obscures nobility and inferiority, sacredness and secularity. The boundary between reality and fiction and between culture and nature leads to the resolution of aesthetic and life, aesthetic and non-aesthetic differences. The self-discipline of art and aesthetics was broken, the closeness of aesthetics began to be fully open to the practical field and the cultural context, and the aesthetics changed from a narrow realm of art to a broad field of perception. Turning to visual images and pleasure experience as the core of the production. Aesthetic fashion, style, taste gradually rich and diverse, not to live in change. Aesthetic utilitarianism and practicality also began to surface with the impulse of hedonism. Among the problems associated with consumerism and aesthetics, the body and desire, vision and image, entertainment and leisure are emerging and spreading at all levels of society. It clearly represents the aesthetic concept and aesthetic practice of human beings in the context of consumer culture, which is entering the so-called "super aesthetics" or "post-aesthetics" era of Baudrillard. One of the most important manifestations of the shift in aesthetic life is the appearance of daily life in the form of aesthetics. Compared with traditional aestheticism, this form has its own secret. It is no longer based on the subjectivity of the individual, no longer based on the life experience of the individual, and is no longer the process and result of the emancipation and free choice of the subject, but the passive reality of the manipulation and control of the consumer culture or cultural industry. In the cultural context of consumerism, aesthetics and consumption are expressed as a way of life and values. Aesthetics completes the process of colonization of daily life with the aid of consumption. Aesthetics has become the guiding principle and strategy of life and a self-sufficient social guiding value. As an ideology of daily life, it penetrates the image production and desire consumption of life style. Beauty is more often a lubricant on the machine of desire in consumer society, a perceptual manifestation of desire, and an artistic packaging of consumerism culture. The aesthetic appearance in daily life is, to a great extent, the illusion created by the cultural ideology of consumerism. In the superficial popularization of aesthetics, the pan-aesthetic consciousness popular behind democratization is only a pseudo-aesthetic spirit, and the aesthetic appreciation of the real life world is still an unfinished project of modernity. So, in consumption instead of politics,
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2006
【分類號】：I01

【引證文獻(xiàn)】

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