本文關(guān)鍵詞：審美自律性的歷史考察與反思　出處：《復(fù)旦大學(xué)》2009年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 自律 他律 現(xiàn)代性 審美現(xiàn)代性

【摘要】：審美自律性不是一個(gè)自明的概念,它歷史地生成并隨著時(shí)代美學(xué)思想的發(fā)展而不斷擴(kuò)展其內(nèi)涵;審美自律性也是一個(gè)現(xiàn)代美學(xué)概念,它隨著美學(xué)學(xué)科生成并成為審美現(xiàn)代性的一個(gè)重要觀念。當(dāng)前關(guān)于審美自律性的探討大多在現(xiàn)代性的視域中展開,一方面審美自律性被當(dāng)作文化現(xiàn)代性的確證,遭到了來自后現(xiàn)代理論的批判與解構(gòu);另一方面,審美自律性也體現(xiàn)了現(xiàn)代性概念的矛盾之處,即審美作為獨(dú)立的自治領(lǐng)域?qū)Ρ憩F(xiàn)為工具理性的啟蒙現(xiàn)代性有一種拒斥和批判功能。本文通過歷史地考察審美自律觀念的發(fā)展,梳理自律美學(xué)的理論資源,試圖通過歷史的和邏輯的分析來闡明自律性觀念的理論內(nèi)涵和圍繞自律性所展開的話語碰撞。 論文第一章追溯了審美自律性思想的起源和奠基階段的相關(guān)美學(xué)理論。包括作為自律觀念源頭的英國經(jīng)驗(yàn)派美學(xué)的審美無利害思想,康德對自律美學(xué)的全面奠基和席勒對自律美學(xué)之自由維度的發(fā)展。 第二章審美自律觀念的發(fā)展,主要探討了十九世紀(jì)到二十世紀(jì)幾種典型的具有自律傾向的美學(xué)理論,包括叔本華的非功利的審美靜觀、克羅奇的直覺的審美感知方式和心理學(xué)派布洛的審美距離說以及敏斯特堡的審美孤立說。 第三章從美學(xué)理論轉(zhuǎn)向?qū)徝雷月捎^念在文學(xué)藝術(shù)創(chuàng)作和批評中的體現(xiàn),討論了浪漫主義文學(xué)思潮中的自由和天才等觀念,唯美主義“為藝術(shù)而藝術(shù)”的創(chuàng)作思想,以及二十世紀(jì)以來強(qiáng)調(diào)審美形式和“文學(xué)性”的具有形式傾向的批評理論,包括英國形式主義、俄國形式主義和新批評派的美學(xué)與批評理論。 第四章討論的是具有現(xiàn)實(shí)批判傾向的審美自律理論,或者說半自律的自律論,即法蘭克福學(xué)派的阿多諾和馬爾庫塞的審美思想,通過對否定性、審美形式等獨(dú)特概念的再考察,探討了審美的自律性與藝術(shù)的批判功能相結(jié)合的可能性。 第五章討論了反審美自律的理論。審美自律性發(fā)展到極端形態(tài)所產(chǎn)生的要求絕對自律的無內(nèi)容的形式主義、割裂與現(xiàn)實(shí)聯(lián)系的高雅藝術(shù)等,遭到了各種質(zhì)疑和批評。這一章把當(dāng)前對審美自律性的消解和批評歸結(jié)為三種理論路向,并集中探討了先鋒派理論、實(shí)用主義美學(xué)和布爾迪厄從社會學(xué)角度對審美自律性所做的批評和消解。 通過歷史考察,第六章總結(jié)了審美自律性的內(nèi)涵,探討了審美自律性產(chǎn)生的社會歷史機(jī)制和文化背景;第七章在審美自律性問題的當(dāng)下語境中展開,探討了審美自律性與現(xiàn)代性的關(guān)系、審美的現(xiàn)代性對啟蒙現(xiàn)代性的批判以及在當(dāng)前語境中審美自律性的理論潛能。結(jié)語部分總結(jié)了對審美自律性的價(jià)值判斷:它是一個(gè)歷史的概念,又是一個(gè)邏輯范疇,同時(shí)又具有現(xiàn)實(shí)指向和當(dāng)下性。
[Abstract]:Aesthetic self-discipline is not a self-evident concept, it has been generated historically and expanded its connotation with the development of the aesthetic thought of the times. Aesthetic self-discipline is also a modern aesthetic concept, which has become an important concept of aesthetic modernity with the emergence of aesthetic discipline. At present, the discussion of aesthetic self-discipline is mostly carried out from the perspective of modernity. On the one hand, aesthetic self-discipline is regarded as the confirmation of cultural modernity, which is criticized and deconstructed by postmodern theory. On the other hand, aesthetic self-discipline also reflects the contradiction of the concept of modernity. Aesthetic, as an independent autonomous field, has a function of rejecting and criticizing the enlightenment modernity, which is manifested as instrumental rationality. This paper reviews the development of aesthetic self-discipline concept and combs the theoretical resources of self-discipline aesthetics. This paper attempts to clarify the theoretical connotation of the concept of self-discipline and the discourse collision around the concept of self-discipline through historical and logical analysis. The first chapter traces the origin of aesthetic self-discipline and the relevant aesthetic theories in the foundation stage, including the aesthetic non-interest thought of the British empiricist aesthetics, which is the source of the self-discipline concept. Kant laid the foundation of self-discipline aesthetics and Schiller developed the freedom dimension of self-discipline aesthetics. The second chapter discusses the development of aesthetic self-discipline, mainly discusses several typical aesthetic theories with self-discipline tendency from 19th century to 20th century, including Schopenhauer's non-utilitarian aesthetic meditation. Crockett's intuitionistic aesthetic perception style, psychological school's aesthetic distance theory and Minstberg's aesthetic isolation theory. The third chapter, from aesthetic theory to aesthetic self-discipline in literary and artistic creation and criticism, discusses the romantic literary thoughts of freedom and genius and other concepts. Aestheticism "Art for the sake of Art", as well as the aesthetic form and "literary" emphasis on the form of criticism since 20th century, including British formalism. Russian formalism and the Aesthetics and critical Theory of Neo-criticism. Chapter 4th discusses the aesthetic self-discipline theory with realistic critical tendency, or semi-autonomous self-discipline theory, that is, the Frankfurt School of Adorno and Marcuse's aesthetic thoughts, through the negation. This paper discusses the possibility of the combination of aesthetic self-discipline and critical function of art. Chapter 5th discusses the theory of anti-aesthetic self-discipline. The development of aesthetic self-discipline to the extreme form of demand for absolute self-discipline of contentless formalism, separated from the reality of elegant art and so on. In this chapter, the dispel and criticism of aesthetic self-discipline is reduced to three theoretical directions, and the avant-garde theory is discussed in this chapter. Pragmatism Aesthetics and Bourdieu's criticism and deconstruction of Aesthetic Self-discipline from the Perspective of Sociology. Through historical investigation, chapter 6th summarizes the connotation of aesthetic self-discipline, discusses the social historical mechanism and cultural background of aesthetic self-discipline. Chapter 7th, in the current context of aesthetic self-discipline, explores the relationship between aesthetic self-discipline and modernity. Aesthetic modernity criticizes Enlightenment modernity and the theoretical potential of aesthetic self-discipline in the current context. The conclusion summarizes the value judgment of aesthetic self-discipline: it is a historical concept. It is also a logical category, at the same time, it has realistic direction and present nature.
【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】：2009
【分類號】：B83-0

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本文編號：1412591