【作者】 傅其林；

【导师】 冯宪光；

【作者基本信息】 四川大学 ， 文艺学， 2004， 博士

【摘要】 现代性与审美现代性是当代学术关注的一个焦点，这是人们面临现代性的危机而掀起的一股研究态势。现代社会与现代精神是否耗尽，现代审美文化是否终结，成为美学研究者不可回避的问题。这些问题的思考与探寻从根本上说涉及到现代人的生存的可能性。因此，无论是肯定还是否定地回答，均不能仅仅停留于充满激情的主张与宣言之上，而应该从学理上冷静地考察现代性与审美现代性本身，切实地辨析它们的形成、特征与矛盾，以之来确诊它的病症，找到真正的病因及其危机程度。只有如此，人们方能实事求是地判断现代性与审美现代性存活的可能性。布达佩斯学派的主要哲学家、伦理学家、政治哲学家、社会哲学家阿格妮丝·赫勒就是本着这种态度来考察现代性与审美现代性的。她通过从古代、文艺复兴时期、现代到后现代的一系列研究，揭示了包括审美在内的现代性的形成机制、特征以及不可克服的悖论，但是她并不认为现代性已经终结，而是认识到它还具有尚未充分地实现的潜在可能性，因而重构现代性与美学成为她整个思想的一个显著特色。赫勒50余年的研究展示了一种文化现代性的谱系学，形成了她特有的审美现代性思想。这代表了布达佩斯学派主要的美学思想，也是马克思主义美学在后现代语境中的继承与发展。 赫勒的审美现代性思想为我们当下的美学建设可以提供一种参照，尤其有助于国内现代性与审美现代性思想的研究。不过，目前国内外都还没有学者系统地对赫勒的美学思想展开研究，更没有人从审美现代性的角度来切入她的美学思想。本论文就试图完成这项课题。 本论文分五章来论述赫勒的审美现代性思想。第一章首先清理典型的审美现代性理论，概括从自律、感性、时间三个视角来界定审美现代性的内涵以及每个视角构成的结构功能关系。论文认为，审美现代性与社会现代性处于对抗与互补的矛盾性的张力之中，它可以被追溯到文艺复兴时期，并在波德莱尔美学思想中获得明确的意识。基于此，论文考察了赫勒的审美现代性思想的基本框架，尤其关注她关于审美现代性界定的继承与更新，探讨她关于带有审美文化特征的历史想象制度与具有理性与功利性特征的技术想象制度的复杂关系。 第二章探寻赫勒关于文艺复兴时期的审美现代性特征。论文主要从两方面展开，一方面从艺术与日常生活，艺术与伦理、宗教、科学的分化，艺术与政治、经济的关系来分析赫勒关于独立的审美领域的诞生的认识;另一方面研究她对审美艺术的动态性、个体性、主体性特征的把握。这个时期的审美文化的现代性特征仅仅是审美现代性的萌芽阶段的特征，是从古代到18世纪启蒙运动的一个过渡性阶段所体现出的特征。这种审美现代性成为赫勒关于人的生存的一种理想的设定。论文第三章研究赫勒对现代领域分化过程中的审美领域的认识，探讨她关于审美领域与哲学、科学等自为对象化领域的共同特征以及自身的特殊性，审美领域与日常生活领域的相对自律以及她对日常生活审美化的批判，艺术与制度领域的复杂的关系以及她对艺术制度理论的批判等审美现代性思想。正是基于审美领域的相对自律性，艺术存在的必然性，赫勒对艺术终结论进行了批判。论者认为，赫勒从领域理论来理解审美问题事实上在于主张，审美领域是一个相对自律的领域，它不能等同于日常生活，也不能完全被制度化，这是赫勒美学思想的一个基本框架。第四章论述赫勒对现代美学体系的批判，探讨她关于现代高雅艺术与现代美学的历史形成、特征及其悖论的揭示。此章分两部分，第一部分考察赫勒对现代高雅艺术的神化及其困境，高雅艺术的等级结构的形成，以及从趣味标准形成高低艺术等级的悖论等方面的论述。基于此，论文分析了赫勒试图通过现代性的两种想象制度来重新确定高雅艺术与低级艺术、大众文化、流行文化的等级关系的重构思想。赫勒试图颠覆现代高雅艺术的等级，但是又坚持艺术等级的存在，而不认同后现代主义者抹煞艺术界线的激进主张。第二部分考察赫勒与费赫尔关于现代美学产生的必要性的论述、对现代哲学美学的批判、对哲学美学的批判即归纳艺术批评的批判。哲学美学的困境在于强调普遍性但是不能触及具体的艺术作品，艺术批评的困境在于主要强调特殊性而缺乏普遍的审美价值，它们在现代具有存在的必要性，但是又充满不可改革的悖论。论文也涉及到他们调和哲学美学与艺术批评的重构美学思想。 论文第五章分析赫勒的道德美学的现代性重构。它首先论述她对尼采的人格伦理学的道德美学的批判，尤其是对尼采的伦理审美化的建构的批判。正是在扬弃尼采的道德美学基础上，赫勒提出了自己的道德美学的现代性建构方案，探寻了以美的性格与崇高的性格为范式的人格伦理学的道德美学以及它们与爱、幸福的关系。虽然她论及了崇高的性格，但是重点在于建构和谐的美的性格的道德美学范式。论文还对赫勒的道德美学的建构特征以及对美学建构的启示进行了论述，尤其指出道德美学是赫勒美学思想的根基，因为审美现代性的困境的最终解决在于日常生活中的人格，如果美在现代性中处于无家可归的境况，那么日常生活的人格就可以作?更多还原

【Abstract】 Modernity and aesthetic modernity is a focus of contemporary academic researches, which has become a kind of tendency derived from the crisis of modernity. Whether modern society and modern spirit are exhausted, whether modern aesthetic culture comes to its end, these have become unavoidable problems for contemporary researchers in Aesthetics. Fundamentally, the answers to these problems involve in the possibility of moderns’ survival. As a result, positively or negatively answering them, we cannot simply stay at the level of claims full of passions. Instead, we should seriously trace back to modernity itself, analyze its genesis, characteristics and paradoxes, and more importantly diagnose its symptoms in order to find the real causes and degree of crisis of its illness. Only by so doing, can one judge on the possibility of survival of modernity and aesthetic modernity. Just with such an attitude, Agnes Heller, as a major philosopher, Ethicist, political philosopher, social philosopher of Budapest School, surveys some aspects about modernity and aesthetic modernity. She reveals the becoming agency and characteristics and irresolvable contradictions of modernity including aesthetics through a series of studies from the antiquity to Renaissance, to modern times, to postmodern period. She doesn’ t think, however, the modernityis over. On the contrary, she recognizes that its potentials haven’ t been realized fully up to now. So she attempts to reconstruct modernity and Aesthetics. In fact, Agnes Heller’ s studies for almost five decades show us a genealogy of cultural modernity and thus form her particular thoughts on aesthetic modernity. It stands for the main Aesthetics of Budapest School, which also is continuity and development of Marxist Aesthetics in the postmodern context.Agnes Heller’ s thoughts on aesthetic modernity may offer some advice for our contemporary aesthetic reconstruction, contributing to the researches of modernity and aesthetic modernity at home in particular. Until now, however, few scholars at home and aboard have systematically studied Heller’ s Aesthetics and fewer have probed into it from the perspective of aesthetic modernity. This is what this dissertation attempts to do.This dissertation on Heller’ s thoughts about aesthetic modernityconsists of five parts. Part One firstly outlines some representativetheories of aesthetic modernity. First, it remarks on the definition ofaesthetic modernity from three perspectives, namely autonomy,sensibility, and time, and reveals their own structures of function. Itshows the aesthetic modernity, which is traced back to Renaissance andwhich becomes conscious for Baudelaire, is made up of paradoxicaltensions with confrontation and complementarity. And then it discussesthe fundamental framework of Heller’ s thoughts on the aestheticmodernity, especially concentrates on her inheriting and updating ofdefinitions of aesthetic modernity, and the complicated relationsbetween the institution of historical imagination which ischaracteristic of aesthetic culture and the institution of technologicalimagination which is characteristic of reason and utility.Part Two discusses Heller’ s characteristics of the aesthetic modernity during Renaissance. It mainly develops in two aspects: on thefirst level, it analyzes the genesis of the independent aesthetic sphere by showing the separation of the art from everyday life, ethics, religion, and science, and showing the relation between art and politic institution and economy; on the second level, it reveals the dynamic, individuality, and subjectivity of art of Renaissance. These characteristics of the aesthetic modernity in this period just appear at birth, so it is intermediate from the ancient times to the Enlightenment in the eighteenth century. For Heller, this kind of aesthetic modernity is an ideal type of a person’s existence. Part Three discusses Heller’ s recognition about aesthetic modernity during the process of differentiation of spheres. Heller reveals the common and particular characteristics of aesthetic更多还原