【摘要】：文學(xué)審美本質(zhì)論是20世紀(jì)80年代在我國(guó)出現(xiàn)的一種新的文學(xué)本質(zhì)觀(guān),其產(chǎn)生于新時(shí)期主流意識(shí)形態(tài)淡出和審美本質(zhì)化開(kāi)始反思的時(shí)期。它從一個(gè)不同于以往的角度即審美的角度出發(fā)來(lái)解析文學(xué)的本質(zhì),力求把文學(xué)的審美屬性與意識(shí)形態(tài)屬性結(jié)合在一起,提出文學(xué)的本質(zhì)是“審美意識(shí)形態(tài)”,文學(xué)審美本質(zhì)論是新時(shí)期文藝?yán)碚摪l(fā)展的重要新成果。 第一章,新時(shí)期文學(xué)審美本質(zhì)論產(chǎn)生的社會(huì)歷史背景。新時(shí)期之初,政治對(duì)文學(xué)粗暴干預(yù)的結(jié)束給文學(xué)的發(fā)展創(chuàng)造了相對(duì)寬松的社會(huì)環(huán)境,使文學(xué)理論界確立了“文學(xué)是人學(xué)”的命題。同時(shí),在西方文藝美學(xué)、蘇聯(lián)“審美學(xué)派”理論及我國(guó)自古而來(lái)的審美體驗(yàn)傳統(tǒng)等理論語(yǔ)境的熏陶下,文學(xué)審美本質(zhì)論應(yīng)運(yùn)而生。 第二章,新時(shí)期文學(xué)審美本質(zhì)論提出的過(guò)程及提出的重要意義。文學(xué)審美本質(zhì)論并非一人一時(shí)提出來(lái)的,首先是童慶炳先生提出文學(xué)的基本特征是審美,接著錢(qián)中文先生在此基礎(chǔ)上于1984年正式提出文學(xué)的本質(zhì)是“審美意識(shí)形態(tài)”,并對(duì)其內(nèi)涵進(jìn)行了分析。文學(xué)審美本質(zhì)論的提出對(duì)新時(shí)期文藝?yán)碚撗芯康囊饬x是巨大的,它是一代學(xué)人集體理論創(chuàng)新的結(jié)晶,較之“文藝為政治服務(wù)”的口號(hào)更能體現(xiàn)文藝自身的發(fā)展規(guī)律。 第三章,審美本質(zhì)論理論厚度的增強(qiáng)和審美本質(zhì)論進(jìn)入文學(xué)理論教材,這兩個(gè)方面顯示了新時(shí)期文學(xué)審美本質(zhì)論的初步成熟。在20世紀(jì)80年代末,文學(xué)審美本質(zhì)論者繼續(xù)對(duì)文學(xué)的審美特征作了進(jìn)一步地闡述,又對(duì)80年代另一重要的學(xué)說(shuō)“審美反映說(shuō)”進(jìn)行了深入的闡釋,豐富了審美本質(zhì)論的理論內(nèi)涵。文學(xué)審美本質(zhì)論從80年代進(jìn)入一本文學(xué)理論教材到90年代進(jìn)入多本文學(xué)理論教材,其理論本身的權(quán)威性和普遍性在不斷增強(qiáng)。 第四章,文學(xué)審美本質(zhì)論在遭遇并應(yīng)對(duì)全面質(zhì)疑的過(guò)程中繼續(xù)走向深化。從20世紀(jì)90年代末開(kāi)始,文學(xué)審美本質(zhì)論就遭到了零星的批評(píng)。進(jìn)入到新世紀(jì),則遭到了以董學(xué)文、陸貴山為代表的多位學(xué)者的質(zhì)疑。在這全面質(zhì)疑聲中,質(zhì)疑者的主要觀(guān)點(diǎn)表現(xiàn)在,認(rèn)為不能將文學(xué)的本質(zhì)規(guī)定為“意識(shí)形態(tài)”、不能用“審美”涵蓋文學(xué)所有的本質(zhì)、“審美意識(shí)形態(tài)”是“審美”和“意識(shí)形態(tài)”的簡(jiǎn)單相加等方面。錢(qián)中文、童慶炳、王元驤等審美本質(zhì)論者積極應(yīng)對(duì)這些質(zhì)疑,他們重申了“審美意識(shí)形態(tài)”的邏輯起點(diǎn)是審美意識(shí)、“審美”具有巨大的溶解力、“審美意識(shí)形態(tài)”是一個(gè)完整的理論等觀(guān)點(diǎn),使其理論觀(guān)點(diǎn)在應(yīng)對(duì)質(zhì)疑中繼續(xù)深化。 第五章,對(duì)新時(shí)期文學(xué)審美本質(zhì)論進(jìn)行總體分析評(píng)價(jià),對(duì)其發(fā)展前景進(jìn)行展望。文學(xué)審美本質(zhì)論,站在馬克思主義立場(chǎng)上將文學(xué)的審美屬性與意識(shí)形態(tài)屬性結(jié)合在一起,強(qiáng)調(diào)“審美”與“意識(shí)形態(tài)”的融合,在學(xué)理上是具有一定的開(kāi)創(chuàng)性與獨(dú)創(chuàng)性的。但其理論本身對(duì)審美的過(guò)度強(qiáng)調(diào)及理論內(nèi)部結(jié)構(gòu)的松散性,也是不能忽視的缺點(diǎn)。在當(dāng)前大眾文化泛濫、文化研究不斷擴(kuò)張的文化語(yǔ)境中,文學(xué)審美本質(zhì)論應(yīng)該吸取新的理論主張,秉持一種宏觀(guān)、開(kāi)放、多維的態(tài)度與方法,才能有更好的發(fā)展前景。
[Abstract]:The essence of the aesthetic essence of literature is a new concept of literary essence that appeared in China in the 1980 's, which was born in the period of reflection of the mainstream ideology of the new period and the essence of the aesthetic. It is an important new achievement in the development of literature and art in the new period from a point of view that is different from the previous angle, that is, the aesthetic point of view, and tries to combine the aesthetic attribute of the literature with the ideological attribute. The first chapter, the social history of the essence of the literary aesthetic essence in the new period In the beginning of the new period, the end of the violent intervention of the literature has created a relatively loose social environment for the development of the literature, so that the literary circle of literature has established the "Literature is a human study" At the same time, under the influence of the western literature and art aesthetics, the Soviet "aesthetic school" theory and the traditional aesthetic experience tradition of our country, the essence of the aesthetic essence of literature should be transported On the Process and Proposing of the Essence of the Aesthetic Essence of the Literature in the New Period The essence of the aesthetic essence of literature is not a one-time point. The first is that the basic characteristic of the literature is the aesthetic, and then the Chinese Mr. Chinese, on the basis of this, formally put forward the essence of the literature in 1984 as" the aesthetic ideology "and its connotation. The article analyses the significance of the study of the literary theory in the new period, which is the crystallization of the collective theoretical innovation of a generation of scholars, which is more than the slogan of the "Literature and Art as a Political Service" and reflects the literature and art itself. The third chapter, the enhancement of the theoretical thickness of the aesthetic essence and the theory of the essence of the aesthetics, enter the literary theory teaching material, and the two aspects show the aesthetic of the new era. At the end of the 1980s, the aesthetic essence of literature continued to make a further elaboration on the aesthetic characteristics of the literature, and also made an in-depth interpretation of the other important theoretical "the aesthetic reflection" in the 1980s, and enriched the aesthetics. The essence of the theory of the essence of literature. The essence of the aesthetic essence of literature has entered a literary theory teaching material from the 80 's to the multi-literary theory teaching material in the 1990s, its own authority and the authority of the theory itself. The universality is increasing. In the fourth chapter, the essence of the aesthetic essence of literature is facing and dealing with the comprehensive quality The process of the doubt continues to deepen. From the end of the 1990s, the aesthetic of literature In the new century, the theory of quality has been criticized, and it has been criticized by Dong Xuewen and Lu Guishan. In this all-round question, the main point of view of the question is that the essence of literature cannot be defined as" ideology ", and that" aesthetic "is not used to cover all the essence of literature, and the aesthetic ideology is" aesthetic" and "ideology" , the aesthetic essence of the Chinese, the children, the Wang Yuan and the like have responded positively to these questions. They reiterated that the logical starting point of the "aesthetic ideology" is the aesthetic consciousness, the "aesthetic" has a great dissolution force, the "aesthetic ideology" is a complete theory and so on, so as to make the theoretical view The fifth chapter is to make a general study on the essence of the aesthetic essence of the new era. On the basis of the theory of the essence of the literature, the aesthetic attribute of the literature is combined with the ideological attribute in the Marxist position, and the fusion of the "aesthetic" and the "ideology" is emphasized. It is a kind of groundbreaking and original. But the theory of the theory itself has an over-emphasis on the aesthetic and the internal structure of the theory. In the cultural context of the spread of the current popular culture and the expansion of the culture, the essence of the aesthetic essence of literature should draw on the new theory and hold a macroscopic, open and multi-dimensional attitude.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2011
【分類(lèi)號(hào)】：I01

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 張亞驥;;文學(xué)“審美意識(shí)形態(tài)”論的發(fā)生、發(fā)展及論爭(zhēng)[J];合肥師范學(xué)院學(xué)報(bào);2009年01期

2 劉鋒杰;;“文學(xué)是審美意識(shí)形態(tài)”觀(guān)點(diǎn)之質(zhì)疑[J];安徽師范大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2008年02期

3 高磊;;文藝本質(zhì):是意識(shí)形態(tài)的還是意識(shí)形式的?[J];安徽師范大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2008年02期

4 董學(xué)文;文學(xué)本質(zhì)界說(shuō)考論——以“審美”與“意識(shí)形態(tài)”關(guān)系為中心[J];北京大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2005年05期

5 童慶炳,陳雪虎;百年中國(guó)文學(xué)理論發(fā)展之省思[J];北京師范大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);1999年02期

6 譚善明;;文藝與意識(shí)形態(tài)的張力——中西馬克思主義文論意識(shí)形態(tài)觀(guān)念比較[J];長(zhǎng)春工業(yè)大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2008年01期

7 董學(xué)文;陳春敏;;略論文學(xué)與意識(shí)形態(tài)之關(guān)系——從馬克思的“意識(shí)形態(tài)”觀(guān)談起[J];湖南文理學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2008年01期

8 張默然;;“審美意識(shí)形態(tài)論”合法性的歷史生成[J];重慶廣播電視大學(xué)學(xué)報(bào);2010年04期

9 黎風(fēng);;文學(xué)變革中的不變法則——再說(shuō)馬克思主義審美意識(shí)形態(tài)理論[J];當(dāng)代文壇;2009年06期

10 馮憲光;;文學(xué)審美意識(shí)形態(tài)論的互文性理論結(jié)構(gòu)[J];當(dāng)代文壇;2010年05期

，

本文編號(hào)：2506323