發(fā)布時(shí)間：2018-06-14 14:31

  本文選題：文藝美學(xué) + 感性��； 參考：《南京師范大學(xué)》2003年博士論文

【摘要】： 文藝美學(xué)誕生于八十年代初，是思想解放運(yùn)動的必然產(chǎn)物。當(dāng)年有關(guān)形象思維和文學(xué)與政治關(guān)系的討論深化了人們對文藝本質(zhì)和特征的認(rèn)識，意識到文藝涉及“非關(guān)理”的領(lǐng)域，有著與其他文化形態(tài)不同的功能和社會作用。 二十年來，以“感性學(xué)”為邏輯起點(diǎn)的文藝美學(xué)經(jīng)歷了曲折。在起始階段，它處于以理性為核心內(nèi)容的實(shí)踐美學(xué)的影響支配之下，感性的獨(dú)特價(jià)值并未被充分認(rèn)識，但八、九十年代社會生活的多元變化和新文藝現(xiàn)象的不斷涌現(xiàn)使人們確信感性之維正是文藝活動的重要價(jià)值之所在。如果說八十年代以前正統(tǒng)文藝觀念所重視的是理性、群體的價(jià)值，那么，八十年代之后，文藝美學(xué)開始重視感性、個(gè)體的價(jià)值。文藝作為一種世俗生活之詩，總是一種想象性的意義交流活動，它所展示的，是“怎么活”的多種可能性，所要解決的，是“活得怎么樣”、“怎樣活才有意義”之類的“現(xiàn)世關(guān)懷”問題。文藝美學(xué)最終關(guān)懷的也是感性人生的意義問題。 德國古典美學(xué)是現(xiàn)代文藝美學(xué)的理論前提。以鮑姆嘉通、康德為奠基人的德國古典美學(xué)是一種為感性正名、張揚(yáng)其平等地位和價(jià)值、并以其為研究中心的現(xiàn)代學(xué)科。邏輯地看，感性生活、個(gè)體生命價(jià)值及其意義問題是“感性學(xué)”的相關(guān)維度。德國古典美學(xué)不僅影響了西方美學(xué)的現(xiàn)代發(fā)展，而且影響了王國維、魯迅等人。他們的文藝思想構(gòu)成了中國文藝美學(xué)的最初傳統(tǒng)，因此，八十年代誕生“文藝美學(xué)”實(shí)屬歷史必然，它絕非無源之水。 文藝美學(xué)是一種思與詩的對話。它以感性學(xué)為切入點(diǎn)，要研究文藝活動如何用感性的、個(gè)體的、心理的東西來推動理性、社會和歷史前進(jìn)的。這一思路不僅出于理論需求，而且符合人類文藝活動的歷史實(shí)踐�！霸娛侨祟惖哪刚Z”，文藝活動幫助人類實(shí)現(xiàn)了從猿到人的根本轉(zhuǎn)變；從古老的神話、中國的《詩經(jīng)》到古希臘的史詩，原始文藝給個(gè)體的感性交流提供了公共空間，推動了集體理性的形成和發(fā)展；賦予人的全部感性生活以意義，是原始文藝活動的主要內(nèi)涵。 文藝發(fā)展的根本動力也出于對人類自身世俗感性生活的關(guān)懷。進(jìn)入文明社會之后，以理性為核心內(nèi)容的種種統(tǒng)治文化形態(tài)開始貶低感性的世俗生活，破壞了文藝活動的深厚基礎(chǔ)，但感性的內(nèi)在沖動，又需要有一種方式來抵御理性壓力， 文藝活動正是這種為感性正名，賦予日常世俗生活以意義的文化形式。從感性學(xué) 以及文藝與其他文化形式相互關(guān)系的角度出發(fā)，可以解釋某些“不平衡”現(xiàn)象。 中西方文藝史表明，哪里有對人生幸福的關(guān)懷，哪里就有相對發(fā)達(dá)的文藝活動。 個(gè)體價(jià)值意識以及對人生意義的叩問還是文藝活動的不竭沖動。早在文明之 初，價(jià)值意識就伴隨著人的自我意識的產(chǎn)生而產(chǎn)生。自覺的“創(chuàng)作”意識更是與 實(shí)現(xiàn)個(gè)體價(jià)值的沖動密切相關(guān)。歷史地看，傳統(tǒng)的文藝價(jià)值觀己經(jīng)注意到文藝與 人生價(jià)值的關(guān)聯(lián)，中國文人更早已明確地將創(chuàng)作活動理解為張揚(yáng)個(gè)體價(jià)值的行 為。西方傳統(tǒng)的文藝價(jià)值觀主要是一種知識論的文藝價(jià)值觀，但至二十世紀(jì)，情 況發(fā)生了根本變化。尼采、胡塞爾、海德格爾等人批判了傳統(tǒng)的知識至上論和理 性萬能論，論證了文藝的價(jià)值在于沖破觀念的心因，展現(xiàn)人生的真相和審美自由 的多種可能性，是生命價(jià)值的獨(dú)特體現(xiàn)。從文藝作品的實(shí)際看，文藝的價(jià)值恰在 它表現(xiàn)了超越正統(tǒng)觀念的感性生活內(nèi)容。 人生價(jià)值意識始終是一種生命時(shí)間意識，沒有生命時(shí)間意識，人生價(jià)值意識 無從產(chǎn)生，生命時(shí)間意識就是人生價(jià)值意識。文藝作為世俗生活之詩，如何賦予 此岸人生以意義，如何超越生命時(shí)間的局限，獲得最終的審美自由和人生價(jià)值， 是其基本主題和探索焦點(diǎn)。時(shí)間意識的邏輯展開，也支配著文藝思潮的邏輯演進(jìn) 以及文藝作品內(nèi)容與形式等方面的遞增更新。古代浪漫主義、基督教文學(xué)、現(xiàn)實(shí) 主義、近代浪漫主義、現(xiàn)代主義、后現(xiàn)代文學(xué)等思潮的背后有著各自不同的人生 價(jià)值意識和時(shí)間意識。 文學(xué)是人學(xué)，它區(qū)別于哲學(xué)、倫理學(xué)、宗教學(xué)的地方正在它是人的感性自由 的價(jià)值學(xué)，個(gè)體生命的意義學(xué)。因此，文藝美學(xué)瞄準(zhǔn)文藝的感性之維，它也是一 種人學(xué)，具有鮮明的人文學(xué)科性質(zhì)。然而在當(dāng)代社會，不僅文藝美學(xué)的學(xué)科價(jià)值 受到了某種“審美文化”論的挑戰(zhàn)，而且文藝的不可取代的獨(dú)立審美價(jià)值也受到 了懷疑。但事實(shí)上，某些“審美文化”中的感性外觀與文藝的審美之維有著本質(zhì) 區(qū)別，它受到商品經(jīng)濟(jì)條件下新的權(quán)力機(jī)制的操控，不利于個(gè)體自由與價(jià)值的張 揚(yáng)，實(shí)質(zhì)上是一種偽審美要素。在現(xiàn)代化的背景下，，仍然需要以張揚(yáng)個(gè)體價(jià)值和 自由為根本目的的文藝活動，也需要以此為根本指向的現(xiàn)代性文藝美學(xué)。
[Abstract]:Literary aesthetics was born in the early 80s. It was an inevitable product of the movement of ideological emancipation. The discussion of the relationship between image thinking and literature and politics deepened people's understanding of the essence and characteristics of literature and art, realized that literature and art were involved in the field of "non customs", and had different functions and social functions from other cultural forms.
In the past twenty years, literary aesthetics with "perceptual learning" as the logical starting point has undergone twists and turns. At the beginning, it is under the influence of the practical aesthetics which is the core content of reason. The unique value of the sensibility has not been fully understood. But in the eight, the changes in the social life and the continuous emergence of the new literature and art in 90s make sure that people do not have a good idea. The dimension of the sensibility of the letter is the important value of the literary and artistic activities. If the orthodox literature and art idea before 80s is valued as reason and the value of the group, then, after 80s, the aesthetics of literature and art began to attach importance to sensibility and individual value. As a secular life poem, literature and art are always a kind of imaginary communication activity. What is displayed is the possibility of "how to live", and the problem to be solved is "how to live", "how to live and have meaning", and the question of "present care". The ultimate concern of literary aesthetics is the significance of the perceptual life.
German classical aesthetics is the theoretical premise of modern literary aesthetics. The German classical aesthetics, taking Baumgarten and Kant as the founder, is a modern subject for the perceptual name, the equal status and value, and its research center. The logical view, the perceptual life, the individual life value and its significance is the related dimension of "perceptual learning". German classical aesthetics not only influenced the modern development of western aesthetics, but also influenced Wang Guowei, Lu Xun and others. Their literary and artistic ideas constitute the original tradition of Chinese literary and artistic aesthetics. Therefore, the birth of "literary and artistic aesthetics" in 80s is a historical necessity, and it is not a passive water.
Literary aesthetics is a dialogue between thought and poetry. It takes the perceptual learning as the breakthrough point to study how literary and artistic activities advance rationality, society and history with perceptual, individual and psychological things. This idea is not only for theoretical needs, but also in the historical practice of human literature and art. "Poetry is the mother tongue of human beings", literary and artistic activities. From the ancient mythology, the Chinese "Book of Songs >" to the ancient Greek epic, the primitive literature and art provided the public space for the perceptual exchange of the individual, which promoted the formation and development of the collective rationality, and the meaning of the entire perceptual life of the human being was the main connotation of the primitive literary and artistic activities.
The fundamental motive force of the development of literature and art is also out of the concern for the human worldly emotional life. After entering the civilized society, the dominant cultural form of rational as the core content begins to degrade the sensuous secular life and undermines the profound foundation of the literary and artistic activities, but the emotional inner impulse needs a way to resist the rational pressure.
Literary and artistic activities are just the form of culture that gives emotional meaning to the daily life.
And the relationship between literature and art and other forms of culture can explain some phenomena of "imbalance".
The history of Chinese and Western literature and art shows that where there is concern for happiness in life, there are relatively developed literary and artistic activities.
Personal value consciousness and questioning of the meaning of life are still the endless impulse of literary and artistic activities.
At first, value consciousness came into being with the emergence of people's self-consciousness.
The impulse to realize individual value is closely related. Historically, traditional literary and artistic values have paid attention to Literature and art.
The connection between life value and Chinese literati has clearly interpreted creative activities as a way to publicize individual values.
The western traditional values of literature and art are mainly a kind of literary and artistic values of knowledge, but by twentieth Century,
The fundamental changes have taken place. Nietzsche, Husserl, Heidegger and others criticized the traditional theory of supremacy of knowledge.
The theory of sexual omnipotent demonstrates that the value of literature and art lies in breaking through the cause of mind and revealing the truth and aesthetic freedom of life.
Many possibilities are unique manifestations of the value of life. From the perspective of literary and artistic works, the value of literature and art is just the same.
It shows the perceptual life content beyond orthodoxy.
Life value consciousness is always a sense of life time, no sense of life time, and sense of life value.
Life time consciousness is life value consciousness. How to give literature and art as a poem of secular life?
On this shore life, by means of meaning and how to transcend the limitation of life time, obtains the ultimate aesthetic freedom and life value.
The logic of time consciousness also dominates the logical evolution of literary trend of thought.
And the gradual updating of content and form of literature and art. Ancient romanticism, Christian literature, reality
Doctrine, Modern Romanticism, modernism, post-modern literature and other trends have their own different lives.
The consciousness of value and the consciousness of time.
Literature is human science, which is different from philosophy, ethics and religion. It is the perceptual freedom of human beings.
Therefore, literary aesthetics aims at the perceptual dimension of literature and art.
Human science has a distinct nature of humanities. However, in contemporary society, it is not only the academic value of literary aesthetics.
It is challenged by the theory of "aesthetic culture", and the independent aesthetic value of literature and art can not be replaced.
Doubt. But in fact, the perceptual appearance of certain "aesthetic culture" is essential to the aesthetic dimension of literature and art.
The difference is that it is manipulated by the new power mechanism under commodity economy, which is not conducive to individual freedom and value.
Yang is essentially a pseudo aesthetic element. Under the background of modernization, it is still necessary to publicize individual value.
The literary and artistic activities that are fundamental to freedom also need the modern aesthetics of literature and art.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2003
【分類號】：I01

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 丁龍海;當(dāng)代審美功用理論研究[D];西北師范大學(xué);2011年

本文編號：2017711