生存论视野下的审美超越问题研究

【作者】 杨波；

【导师】 邱运华；

【作者基本信息】 首都师范大学 ， 文艺学， 2012， 博士

【摘要】 审美超越深深植根于人的生存和生存的超越性,因而也是一个历久弥新、言说不尽的话题。古今中外的思想家们对此不乏睿智之思,现代人的生存困境又促使人们重新审视审美的超越性问题。审美超越是一种内在超越和现世的诗意超越,它是对生存的终极关怀,对于理想人格及生命境界的美的追求；它将人类带回到生存的本质,使存在得以澄明,“人生在世”得以诗意般的彰显出来。本论文从生存论的角度探求了审美超越的根据,深入挖掘了审美超越与人的生存以及生存超越之间的本体关联,阐明了审美超越的精神特质和终极旨归,考察了审美超越的维度、相度和心理机制,最后再次回到当下现实,分析了审美超越的现实境遇以及在审美泛化的时代背景下,审美超越精神应该何去何从。通过对审美超越的全方位考察,本论文意在阐明,审美精神本然地具有超越性维度。审美的超越性是植根于人性的自我超越诉求,这一优良传统不应该被遗弃。时代在发展,审美观念在发生改变,审美活动的内容日益丰富,在此,我们回顾历史和传统,回顾审美的哲学之根,返本开新,在变与不变的交锋中,执守人性的价值标尺。论文包括绪论、主体部分和结语。主体部分共分六章。“绪论”部分考察了论题的时代背景和研究现状。论文首先从宏观的角度分析了现代人精神迷失的生存状态；接着对新时期以来的中国美学界在审美与人的生存和超越问题上的研究作了简要的述评；进而辨析了审美超越与哲学超越和宗教超越等其它超越形式的区别,在此基础上阐明了审美超越的独特内涵和价值取向,最后逐章交代了本文的运思路径。第一章“从实体论到生存论：西方美学的超越精神”考察了从柏拉图到海德格尔的西方哲学在审美超越问题上的观念演变,在此基础上试图阐明在讨论审美超越问题时所应具有的生存论立场。审美超越应当立足于生存论而非实体论,它源于人的生存并归于人的生存,最终落脚为“存在的澄明”和“诗意的栖居”。第二章“从‘艺通于道’到境界的彰显：中国传统哲学中的生存与超越”考察了从先秦到唐宋时期的中国传统文化中的审美超越思想。文章指出,中国文化中的审美超越思想历经了先秦时期的“艺通于道”,魏晋玄学的“体无”,唐宋时期的“妙悟”,最终落脚为“境界”。“境界”作为一种非实体化的存在境域的显现可以和海德格尔的“诗意的栖居”相媲美,从而实现中西美学在审美超越问题上的完美对接。第三章“审美超越与自由”考察审美超越的终极目标和维度。审美超越的终极目标是为了提升个体的生存境界,实现个体的生命自由。这种自由不是认识论意义上的自由,而是生存论意义上的自由。它的实现包含以下三个维度：首先,审美是对日常生活的超越。审美立足于日常生活世界,却又超越了日常生活的增庸性和刻板性,通过日常经验的“陌生化”和日常意识的“中断”,将人类带回到生存的本质,使存在的意义得以澄明。第二,审美足对感性、理性的双重超越。审美作为一种无利害的自由愉悦,既不依附于感官的快乐,也不受制于理性的强迫,因而实现着对感性和理性的双重超越。第三,审美足对主客二分的超越。审美活动不是主体对客体的认识活动,而是主体间的交往与对话。审美主体在一种物我两忘的生命体验中,超越主客的隔阂和狄隘的个体自我意识,而进入“天地与我并生,万物与我为一”的人生大境界,并最终达成个体生命意义的完满和个体精神的自由充实。第四章考察审美超越的相度。审美超越是在对应相度的圆融统一过程中达成的。这种相度圆融包括四种基本形态：一是现实性与理想性的统一,审美超越立足于现实而憧憬理想,关注应然性和可能性,寓审美超越于理想性之中·。二是有限性与无限性的统一,审美超越是在有限中探寻无限,无限存在于有限性之中。三是个体性与社会性的统一,审美活动既立足于个体经验又足对个体经验和个体意识的超越,它是以个体的方式传达对整个人类生存状态的关注。审美的个体性不是超脱于社会之外的,而是包含着社会历史特征,是社会历史的生成物。四是形而下与形而上的统一,审美超越是对形而下的反思和对形而上的追求,关注于形而上的境界创成,根源于对人的存在的终极意义的追问和终极价值的追求。第五章“审美超越与审美体验”考察了审美超越的心理机制。审美超越是种内在超越和自我超越,它不是建基于某种外在于主体的超验之物,而是在主体的体验活动中发生。审美和艺术正是在体验中消泯了主客体的对峙,而达到一种全新的主客体融合的境界。此种融合之所以能得以发生,就在于审美知觉、审美情感、审美想象等多种心理因素的参与和互动。在审美体验活动中,审美知觉、审美情感、审美想象都具有超越的特质和超越之美,而审美主体作为审美知觉、审美情感、审美想象的主体则具有自我超越的潜质和潜能。在此关系域中,审美知觉是审美超越的起点和前提；审美情感是审美超越的引擎和动力；审美想象是审美超越的翅膀。正是在知觉、情感、想象等多种心理因素的交融、重叠、震荡的过程中,审美体验自然而然地发生,同时审美主体也从心理上完成了审美超越。第六章“审美泛化时代的审美超越图景”将审美超越置于大众文化和日常生活审美化的当代语境中,考察审美超越精神的时代困境与出路。在后现代和大众文化的背景下,审美和艺术冲破了传统美学的藩篱,泛化到日常生活中。日常生活被越来越多的艺术品质所充满。然而,审美和艺术在日常生活化的同时,也正日益丧失其精神超越性的维度,沦为感官的即时消费和本能欲望的表达。当此之时,有必要重新强调审美的超越性,以救当代审美文化形而下的感性趋势和物化倾向之流弊。我们在剖析审美泛化的时代现象时,必须秉承批判的精神,认清在审美泛化的表象背后所隐藏的审美的商业化、庸俗化的实质,在批判的反思中重建审美的超越之维。更多还原

【Abstract】 Aesthetic transcendence is deeply rooted in human existence and transcendence and, therefore, an endless, timeless topic. Chinese and Western philosophies have no lack of wisdom thinking in this respect, and modern existential dilemma also encourages people to re-examine the issue of aesthetic transcendence. Aesthetic transcendence is an immanent transcendence and secular poetic transcendence; it is the pursuit of ideal personality and realm of life and brings humans back to the essence of life, so that there can be a clarity of "being" and "poetic dwelling" can be manifested. This thesis is to explore from the perspective of human existence the basis of aesthetic transcendence; it examines the ultimate objective, the dimensions and phases, and the psychological mechanism of aesthetic transcendence and finally returns to the current reality with an analysis of the reality situation of aesthetic transcendence in the background of Aestheticization. Through a thorough examination of aesthetic transcendence, this paper is intended to clarify the point that the transcendent spirit is an inherent dimension of aesthetics which is deeply rooted in human existence and transcendence and therefore should not be abandoned.This paper includes the introduction, the main part and conclusion. The main part is divided into six chapters.The "Introduction" section examines the research background on the subject. It begins with an analysis of the current status of spiritual loss; then made a brief review of research on aesthetic transcendence in the new era of China. Based on this, the paper then proceeds to a discrimination between aesthetic transcendence and other forms of transcendence such as philosophical transcendence and religious transcendence, hence to clarify the unique content and value orientation of aesthetic transcendence. Finally is an account of the contents of each chapter.ChapterⅠ"From the entity theory to existentialism:the spirit of aesthetic transcendence in Western Aesthetics" examines the evolution of Western philosophy from Plato to Heidegger’s concept of aesthetic transcendence, and on this basis, attempts to clarify the point that aesthetic transcendence should be based on existentialism instead of an entity theory; it is derived from human existence, and ultimately settled for the "disclosure of existence" and "poetic dwelling".ChapterⅡ"from ’Art as a manifestation of Tao’ to’Jihngjieh’:the spirit of aesthetic transcendence in traditional Chinese culture" examines the evolution of aesthetic transcendence in traditional Chinese culture from the early Qin Dynasty to the Tang and Song Dynasties. The aesthetic transcendent thoughts in ancient Chinese culture has gone through the evolution from the Qin Dynasty’s "Art as a Manifestation of Tao ", to the "Nothingness" of Wei and Jin Dynasties, to Tang and Song Dynasties’ "Miao Wu", eventually settled for "Jihngjieh". "Jihngjieh" as a non-entity existential theory is comparable to Heidegger’s "poetic dwelling" so that a perfect intersection of Chinese and Western aesthetics on the issue of aesthetic transcendence might be achieved.ChapterⅢ"Aesthetic Transcendence and Freedom" examines the ultimate objective and dimensions of aesthetic transcendence. The ultimate goal of aesthetic transcendence is to enhance the individual’s realm of life and realize the individual’s freedom. Such freedom is not freedom on the epistemological sense, but freedom on the existential and ontological sense. Its implementation includes the following three dimensions:First, aesthetic transcendence of the everyday life. Aesthetics is based on the daily life of the world, but transcends the mediocrity, rigidness and pettiness of the daily life, and through the "defamiliarization" of everyday experience and the "interruption" of everyday consciousness brings human back to the essence of existence and "poetic dwelling". Second, aesthetic transcendence of sensuality and rationality. Aesthetic freedom as a disinterested pleasure, is neither attached to sensual pleasure, nor subjective to rational force, and thus realizes the transcendence of both sensuality and rationality. Third, aesthetic transcendence of dualism. Aesthetic activity is not based on the subject--object dualism, but on the harmony between Man and the World. Aesthetic subject immerses himself in a "forgetting myself" state of mind, transcends the subject--object barriers and enters a new realm which features the fusion of Man and World and through this process, eventually fulfils the meaning of individual life and spirit of individual freedom.The fourth chapter examines the phases of aesthetic transcendence. Aesthetic transcendence is reached in the dialectical unity of corresponding phases. This unity includes four basic forms:First, the unity of the reality and the ideal; aesthetic transcendence is grounded in reality but entails a vision of the ideal. Second, the unity of finitude and infinity; aesthetic transcendence is the pursuit of the infinite within the realm of finite being. Third, the unity of individual and the society; aesthetic activity is based on individual experience but goes beyond individual consciousness and conveys the concern of the entire state of human existence. Aesthetic individuality is not detached from society, but includes social and historical characteristics. Last, the unity of physical and metaphysical; aesthetic transcendence is the pursuit of the ultimate meanings and values within the physical experience of human existence.Chapter V "Aesthetic transcendence and aesthetic experience" examines the psychological mechanism of aesthetic transcendence. Aesthetic transcendence is an inner transcendence and self-transcendence; it is not based on some outside entity, but on the subject’s aesthetic experience. It relies on the participation and interaction of a variety of psychological factors such as aesthetic perception, aesthetic emotion and aesthetic imagination. In this domain of relationship, the aesthetic perception is the starting point and prerequisite for aesthetic transcendence; aesthetic emotion is the engine and power of aesthetic transcendence; aesthetic imagination is the wings. It is in the participation and interaction of perception, emotion, and imagination that aesthetic experience occurs naturally, while the aesthetic subject from the psychological perspective fulfils aesthetic transcendence.Chapter VI "Prospect of aesthetic transcendence in the era of Aestheticization" placed aesthetic transcendence in the contemporary context of popular culture and the aestheticization of everyday life, and examines the dilemma and outlook of aesthetic transcendence in modern times. In the context of post-modern and popular culture, art and aesthetics have lost its past glory, and been reduced to momentary sensual pleasure and immediate consumption. However, we believe that the true aesthetic must have its inherent transcendent value. By reiterating the transcendent dimension of aesthetics, we can save the contemporary aesthetic culture from a tendency to be materialized and abused. In the era of Aestheticization. it is important to uphold the spirit of criticism, and reconstruct the dimension of aesthetic transcendence.更多还原