20世紀80年代審美文論研究
發(fā)布時間：2018-08-27 13:31
【摘要】： 自文學理論研究有了自覺意識以來,“審美”這一因素就從未淡出理論研究者的視野,只不過受到各種歷史條件的影響和制約,“審美”沒有得到明顯地倡導罷了,從這個意義上說,“審美文論”并不僅僅屬于20世紀80年代。但是,如此泛泛而談,“審美文論”的提法也就失去了它應有的內(nèi)涵。 在20世紀80年代中國文學理論研究領域中出現(xiàn)了一股新的理論思潮,從表面上看它沒有形成固定而統(tǒng)一的理論宣言和理論規(guī)范,也沒有形成一定的理論組織規(guī)范、制度機構。而文學理論研究者們則自發(fā)地將“審美”這個關鍵詞作為文學理論研究的基點,或者說重新提升了“審美”在文學理論中的地位,例如:由“反映論”變?yōu)椤皩徝婪从痴摗?從“意識形態(tài)論”變成了“審美意識形態(tài)論”,他們注重對文學理論中“審美”因素的研究,同時改變了“審美”的政治功利性內(nèi)涵,并賦予其新的內(nèi)涵、價值和意義,這就是本文所說的“審美文論”。 本文不打算對“審美文論”思潮進行整體上的理論分析和梳理,本文試圖討論在“審美文論”中審美價值生成的四個邏輯路向:審美無功利論,審美主體建構論,審美社會功能論和審美體驗超越論。將其命名為“邏輯路向”意思是說在現(xiàn)實層面上,“審美文論”中審美價值是一個完整的系統(tǒng),各個審美價值之間不是孤立存在的,要想將它們完全分開解析只能在純粹的邏輯層面展開。本文對這四個審美價值路向分別加以分析只能說是一種權宜之計。本文分為四章,每章討論一個路向,并在引言和結論兩處加以系統(tǒng)整理。 第一章討論“審美無功利論”,首先從歷史上梳理這一邏輯路向的脈絡,其次將視角轉向20世紀80年代的“審美文論”,“審美無功利論”將審美的價值歸結為“審美”和“藝術”自身,“無功利”是指在現(xiàn)實社會和世界中,審美沒有任何功利性目的,在“審美文論”中,它表現(xiàn)為“唯美主義”、“為藝術而藝術”、“審美無關利害”、“形式主義”、“純文學”、“純詩”等;第二章是“審美主體建構論”,它認為在文學藝術中“審美”最主要的功能和意義在于它可以重新塑造主體,使主體在精神、性格、人性、心靈等方面在現(xiàn)世生活中得到提升和完善,或者是自我實現(xiàn)。本章同時分析了析“審美主體建構論”的理論淵源,以劉再復的《論文學的主體性》和“審美反映論”為例分析20世紀80年代“審美文論”中的“審美主體建構論”;第三章分析“審美社會功能論”,這一邏輯路向更加關心的是“審美”在何種程度上可以發(fā)揮的它的社會功能,它不同于純粹的文藝社會功利論,它在努力發(fā)掘出“審美”的自身內(nèi)涵之后,在“審美”的基礎上重新審視審美的社會功能,它力求使“審美”的其它價值與社會價值達到一種辯證地統(tǒng)一。本章首先分析“審美社會功能論”的理論脈絡,再分析20世紀80年代“審美文論”中這一邏輯路向的簡要情況,以“審美意識形態(tài)論”為例進行論證;第四章論述了“審美體驗超越論”,把“審美”的價值定位于“審美精神主體”,它注重審美的瞬間體驗,在這種瞬間體驗中主體能夠超越現(xiàn)實的束縛和局限,走向一種完全自由的人生境界。人們在現(xiàn)實中不能實現(xiàn)的,可能通過“審美體驗”在理想和精神領域中實現(xiàn),它具有幻想和宗教的意味,只存在于人的內(nèi)存心靈領域,“自由性”、“瞬間性”和“彼岸性”是它的基本特質。這一章論述較為簡略,主要以劉小波和童慶炳二人的學術文章作為討論的對象。 在價值層面上講,“審美文論”就是在這四個邏輯路向上分別展開對審美政治功利論的批判和瓦解,它的出現(xiàn)在一定程度上抵制和批判“審美政治功利論”并在當時的文學理論研究中占據(jù)著主導地位,并對80年代的整體社會思想狀況發(fā)揮著它應有的積極作用。
[Abstract]:Since the study of literary theory became conscious, the factor of "aesthetics" has never faded out of the field of vision of theoretical researchers. It is only influenced and restricted by various historical conditions that "aesthetics" has not been clearly advocated. In this sense, "aesthetic literary theory" does not belong only to the 1980s. In general, the formulation of "aesthetic literary theory" has lost its connotation.
In the 1980s, a new theoretical trend of thought emerged in the field of Chinese literary theory research. On the surface, it did not form a fixed and unified theoretical declaration and norms, nor did it form a certain theoretical organization and norms, institutional institutions. The basic point of theoretical research, or to say, has re-elevated the status of "aesthetics" in literary theory, for example, from "theory of reflection" to "theory of aesthetic reflection", from "theory of ideology" to "theory of aesthetic ideology". They pay attention to the study of "aesthetic" factors in literary theory, and change the political merits of "aesthetics". This is the aesthetic theory of literature.
This paper does not intend to analyze and sort out the ideological trend of "aesthetic literary theory" as a whole. It attempts to discuss the four logical directions of the generation of aesthetic value in "aesthetic literary theory": aesthetic utilitarianism, aesthetic subject construction, aesthetic social function and aesthetic experience transcendence. On the realistic level, the aesthetic value is a complete system in the "aesthetic literary theory". Each aesthetic value does not exist in isolation. If we want to analyze them completely separately, we can only start at the purely logical level. The chapter discusses a way forward and systematically collate the two parts of the introduction and conclusion.
The first chapter discusses the theory of aesthetic utilitarianism, first of all, combing the logic from history, then turning the perspective to the "aesthetic literary theory" of the 1980s. The theory of aesthetic utilitarianism attributes the value of aesthetics to "aesthetics" and "art" itself. The theory of "utilitarianism" refers to the fact that aesthetics does not exist in real society and the world. In "aesthetic literary theory", any utilitarian purpose is manifested as "aestheticism", "art for art", "aesthetic irrelevant interests", "formalism", "pure literature" and "pure poetry". The second chapter is "aesthetic subject constructivism", which holds that the most important function and significance of "aesthetic" in literature and art lies in its feasibility. This chapter also analyzes the theoretical origin of the theory of aesthetic subject construction, and takes Liu Zaifu's "On the Subjectivity of Literature" and "Aesthetic Reflection Theory" as examples to analyze the aesthetic appreciation in the 1980s. The third chapter analyses the theory of aesthetic social function, which is more concerned with the degree to which aesthetic can play its social function. It is different from the pure theory of literary and artistic social utilitarianism. On the basis of re-examining the social function of aesthetics, it strives to achieve a dialectical unity between other values of "aesthetics" and social values. This chapter first analyzes the theoretical context of "aesthetic social function theory", and then analyzes the brief situation of this logical direction in "aesthetic literary theory" in the 1980s, with "aesthetic ideology theory". Chapter Four discusses the Transcendence Theory of aesthetic experience, which locates the value of aesthetic experience as the subject of aesthetic spirit. It pays attention to the instantaneous experience of aesthetics. In this instantaneous experience, the subject can transcend the restrictions and limitations of reality and move towards a completely free realm of life. It can be realized in the ideals and spiritual realm through "aesthetic experience". It has fantasy and religious meanings. It only exists in the realm of human memory and mind. Freedom, instantaneity and trans-shore are its basic characteristics. This chapter is relatively brief, mainly discussed by Liu Xiaobo and Tong Qingbing's academic articles. Object.
On the value level, "aesthetic literary theory" is the criticism and disintegration of aesthetic political utilitarianism in these four logical directions. Its appearance resists and criticizes "aesthetic political utilitarianism" to a certain extent and occupies a dominant position in the study of literary theory at that time. It also has an overall social and ideological situation in the 1980s. Play its positive role.
【學位授予單位】：河北師范大學
【學位級別】：碩士
【學位授予年份】：2008
【分類號】：I01
本文編號：2207439
[Abstract]:Since the study of literary theory became conscious, the factor of "aesthetics" has never faded out of the field of vision of theoretical researchers. It is only influenced and restricted by various historical conditions that "aesthetics" has not been clearly advocated. In this sense, "aesthetic literary theory" does not belong only to the 1980s. In general, the formulation of "aesthetic literary theory" has lost its connotation.
In the 1980s, a new theoretical trend of thought emerged in the field of Chinese literary theory research. On the surface, it did not form a fixed and unified theoretical declaration and norms, nor did it form a certain theoretical organization and norms, institutional institutions. The basic point of theoretical research, or to say, has re-elevated the status of "aesthetics" in literary theory, for example, from "theory of reflection" to "theory of aesthetic reflection", from "theory of ideology" to "theory of aesthetic ideology". They pay attention to the study of "aesthetic" factors in literary theory, and change the political merits of "aesthetics". This is the aesthetic theory of literature.
This paper does not intend to analyze and sort out the ideological trend of "aesthetic literary theory" as a whole. It attempts to discuss the four logical directions of the generation of aesthetic value in "aesthetic literary theory": aesthetic utilitarianism, aesthetic subject construction, aesthetic social function and aesthetic experience transcendence. On the realistic level, the aesthetic value is a complete system in the "aesthetic literary theory". Each aesthetic value does not exist in isolation. If we want to analyze them completely separately, we can only start at the purely logical level. The chapter discusses a way forward and systematically collate the two parts of the introduction and conclusion.
The first chapter discusses the theory of aesthetic utilitarianism, first of all, combing the logic from history, then turning the perspective to the "aesthetic literary theory" of the 1980s. The theory of aesthetic utilitarianism attributes the value of aesthetics to "aesthetics" and "art" itself. The theory of "utilitarianism" refers to the fact that aesthetics does not exist in real society and the world. In "aesthetic literary theory", any utilitarian purpose is manifested as "aestheticism", "art for art", "aesthetic irrelevant interests", "formalism", "pure literature" and "pure poetry". The second chapter is "aesthetic subject constructivism", which holds that the most important function and significance of "aesthetic" in literature and art lies in its feasibility. This chapter also analyzes the theoretical origin of the theory of aesthetic subject construction, and takes Liu Zaifu's "On the Subjectivity of Literature" and "Aesthetic Reflection Theory" as examples to analyze the aesthetic appreciation in the 1980s. The third chapter analyses the theory of aesthetic social function, which is more concerned with the degree to which aesthetic can play its social function. It is different from the pure theory of literary and artistic social utilitarianism. On the basis of re-examining the social function of aesthetics, it strives to achieve a dialectical unity between other values of "aesthetics" and social values. This chapter first analyzes the theoretical context of "aesthetic social function theory", and then analyzes the brief situation of this logical direction in "aesthetic literary theory" in the 1980s, with "aesthetic ideology theory". Chapter Four discusses the Transcendence Theory of aesthetic experience, which locates the value of aesthetic experience as the subject of aesthetic spirit. It pays attention to the instantaneous experience of aesthetics. In this instantaneous experience, the subject can transcend the restrictions and limitations of reality and move towards a completely free realm of life. It can be realized in the ideals and spiritual realm through "aesthetic experience". It has fantasy and religious meanings. It only exists in the realm of human memory and mind. Freedom, instantaneity and trans-shore are its basic characteristics. This chapter is relatively brief, mainly discussed by Liu Xiaobo and Tong Qingbing's academic articles. Object.
On the value level, "aesthetic literary theory" is the criticism and disintegration of aesthetic political utilitarianism in these four logical directions. Its appearance resists and criticizes "aesthetic political utilitarianism" to a certain extent and occupies a dominant position in the study of literary theory at that time. It also has an overall social and ideological situation in the 1980s. Play its positive role.
【學位授予單位】：河北師范大學
【學位級別】：碩士
【學位授予年份】：2008
【分類號】：I01
【引證文獻】
相關期刊論文 前1條
1 張春霞;;新時期文學批評主體的重新定位[J];齊齊哈爾大學學報(哲學社會科學版);2011年03期
，本文編號：2207439
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