公共领域的审美经验

【作者】 王彦章；

【导师】 陈炎；

【作者基本信息】 山东大学 ， 文艺学， 2007， 博士

【摘要】 作为一种自由表达观点、平等交换意见的社会场所，一个时代的“公共领域”对于人们的思维方式、行为方式和情感方式起着积极的塑造作用，并潜移默化地影响着“审美经验”的形成。西方历史公共领域和私人领域的分立自古希腊即开始，而中国历史尽管没有那么界限分明，却具有相当丰富的历史资源和论述传统。我们选择“公共领域”这个具有普世性的概念，作为分析范畴，从公共领域的视角考察审美经验发生的特征及其结构演化，分析公共领域的发展与审美经验的变迁之间的关系。全文共分八个部分：导论，首先，通过梳理西方公共领域的论述谱系和中国公共领域的本土理论资源，对公共领域的概念进行了界定，并对相关的研究状况进行了回顾。其次，立足于当下的审美生活状况，界定了审美经验的内涵。本文的论述思路是，沿袭阿伦特与哈贝马斯的研究路向，梳理和分析历史上存在的公共领域类型及其演化；沿袭杜威的研究路向，梳理和分析历史上公共领域审美经验的变迁，探讨二者之间的关系。第一章，分析了公共领域的存在基础：公众、公共空间和公众舆论；以及公共领域的演化动力：即信息传播方式的革命。在此基础上，尝试提出一种审美公共领域的概念，并且分析了审美公共领域的存在结构、交往功能与现实存在的方式。在审美共通感的基础上，重点分析了公共领域的结构化审美经验，认为，审美交往是以理性传达的方式进行的情感体验的交流，即情感体验的私人性与语言公共性之间的转换。因此，审美的需要是一种社会的需要，审美的交往是一种自由的交往。第二章，考察了古典公共领域的诞生与人的诗意存在。古希腊城邦生活立基于私人家庭生活与城邦政治生活的分离。城邦政治开辟了古希腊的公共领域。因此，公共领域的审美经验就表现为公民公共行动中的政治生活特征。由此导致的德性完善是古希腊公共领域公民的最高理想。中国先秦时代，士大夫立私说，办私学，纵横捭阖、游说天下，“治国平天下”是他们的社会理想。公共领域由此诞生。为了应对礼崩乐坏的社会局面，他们追求“礼乐以和”的审美理想，这决定了公共领域审美经验的礼乐功利性。而中国公共领域的最高审美境界就是追求尽善尽美。第三章，考察了中世公共领域的挫折与感性的退缩。中世纪的漫长发展使得西欧公共领域极度萎缩，宗教控制了整个社会生活。因此，教堂成为公共领域的主要场所，教会主导了中世纪的公共生活，平等的博弈变成了单向的皈依。通过宗教信仰活动，审美经验被引导走出世俗的幻象，走向超越的神性，最终至善成就了完美。中国自秦完成天下一统，延续到汉唐盛世，公共领域的主要场所是朝堂和学校。由于政治权力完全控制了知识阶层，公共领域的舆论主体被体制化，因此，公共空间极度萎缩。士大夫的清议传统艰难地维持着公共领域的生存。这一切使得知识阶层的整体批判功能消失殆尽，整体的理性批判完全消失，只剩下少量的个体反抗事件。公共领域的审美经验成为封建道德的附庸，成为世俗人生的伦理表征。第四章，考察了近代公共领域的发展与情感的祛魅。文艺复兴和启蒙运动导致了近代欧洲市民社会的诞生。宗教文化被世俗文化所取代，私人从教堂中解放了出来，私人领域也从国家中分离了出来。公共领域的主要场所又回到了广场。公共领域的批判性开始显现了出来，审美经验也从宗教和公共权力的胁迫下解放了出来。因此，作为公共领域的舆论和批判主体，人文主义者和启蒙者张扬个性情欲、经验快感。公共领域的审美经验绽放出空前的人性光辉。中国则在宋代开始了近代转型，这个过程延续至清末封建社会的终结。知识话语和政治权力开始疏离甚至抗衡。公共领域的主要场所是朝堂和学校，尤其是书院。宋明理学影响了此后知识思想的演化，以及文化艺术的发展变迁。随着商品经济的发展，私学的进一步兴盛，中国社会出现了世俗化、市民化的发展趋势。这一切导致了文学公共领域在中国近代的出现与发展，审美经验表现出了前所未有的世俗性和个性化色彩。第五章，考察了19世纪中期以后现代公共领域的转型与审美救赎的特征。在西方，随着资本主义的进一步发展，理性化与分层化的最终实现，国家与社会的融合，导致了资产阶级公共领域的转型。批判的公众成为消费的公众，公共领域失去其独立、自由的批判功能，被国家权力所操纵。审美经验作为“恶之花”，实现着“满足的合理性”，承担了审美救赎的使命。中国现代百年风云激荡，反对侵略、争取独立、追求自由民主，是历史演化的主题。这个阶段，国家以民族的名义进行社会动员，国家与社会合一；政治公共领域扩张，压倒私人领域。审美经验承担着建构民族认同、国家认同和文化认同的责任。社会审美取代了个人情感，审美救赎融合进政治解放与民族发展中。第六章，考察了1990年代以来全球时代公共领域的重建和情感体验特征。全球化和信息化世界，真正地实现了公共领域的自由平等、理性论证、和谐交往的宗旨。公共领域审美交往的主体成为了一种变动不居的自我和他者，成为了永远的流浪者和旅游者。他们所到之处，无不遭遇到视像信息的包围。这些信息冲击着欲望的身体，使得他们不断获得瞬间的满足。而公共领域的审美对象却只有不断变换的拟像。进而，由于虚拟现实与现实虚拟的模糊，网络空间更加彰显了情感的断裂和电子虚拟对情感的替代。网络时代的公共领域甚至将审美交往主体转换为比特，成为一种没有重量、没有质点的存在，无处不在而又无处存在。所有时代、所有地方的所有信息，作为一种不可能的理想，作为一种审美幻象，终于到来。余论，指出审美交往发生在感性生活领域，是一种情感和趣味上的沟通。而能够为这种情感和趣味上的沟通提供实现条件的，正是需要我们进入的公共领域。公共领域的审美交往使得行为中感性冲动得以净化，走向理性自觉；又使行动中理性的强制性得以弱化，趋向感性自由。因此，我们唯有祛私为公，回归公共生活，才能实现超越性共在。更多还原

【Abstract】 As a social place for free expression and exchange of ideas, the "public sphere" of an era contributes a lot in shaping people’s modes of feelings, thoughts and behavior. Therefore, it also influences the formation of people’s "aesthetic experiences." History of the west tells us the division between public sphere and personal sphere started from ancient Greece. And there are plenty of historical resources and discourse traditions about these two spheres in Chinese history too, though the division may not be very distinct. This dissertation takes a universal concept "public sphere" for analysis in order to reveal the characteristics and structural evolvement of aesthetic experience in public sphere and the evolution of relationship between public sphere and aesthetic experience. The whole dissertation consists of eight parts.In the introduction, "public sphere" is defined through the retrospection of all theoretical materials both at home and abroad, as well as its relevant research condition. Furthermore, the connotation of aesthetic experience is exposed based on the existing aesthetical process. This dissertation intends to analyze the categories and evolvement of public sphere in history following the lead of Arendt and Habermas on one hand, and the evolution of aesthetic experience in public sphere under the guidance of Dewey on the other hand, hence, explores the relationship between them.Chapter One analyzes the existential foundation of public sphere: public, public space, public opinion and evolutional motility of public sphere, which refers to the revolution of information transmitting means. Moreover, a concept of public sphere is initiated, as well as its existential structure, communication function and ways of existence. Aesthetic experiences in public sphere are put into emphasis for analyses based on aesthetic common sense. Aesthetic communication is communication of emotional experience in a rational way----a transformation between the individuality of emotional experiences and publicity of language. Accordingly, aesthetic needs are social needs and aesthetic communication is free communication. Chapter Two demonstrates naissance of classical public sphere and poetical existence of human beings. The establishment of the polis in ancient Greece roots from the separation of one’s personal life and people’s political life in the city. The polis makes ancient Greek public sphere possible. The aesthetic experiences of public sphere are characterized by the political life which citizens share in common activities. This is the reason why ancient Greek civilians regard ethic perfection as their highest ideal of life. In pre-Qin times in China, scholar-bureaucrats develop their own theories, start private schools, maneuver among various political groups, canvass for political support. They take state affairs as their own responsibility and helping ruling as their social ambitions. Public sphere appears in China at that time. Facing the serious social reality of the collapse of ethic code system, they follow the Confucian rites to realize their aesthetic ideals, which cause the utilitarianism of aesthetic experiences in public sphere. However, the terminal aesthetic destination of public sphere in China is to pursue the utmost kindness and perfect beauty.Chapter Three reviews frustration of public sphere and withdrawal of sensibility in the Middle Ages of Europe. During the long dark Middle Ages, public sphere shrinks dramatically since the whole social life is controlled by religion. Therefore, churches become main places of public sphere and dominate social life in the Middle Ages. Equal game theories thus become unilateral devotion. Aesthetic experiences surpass illusions of mundane life to transcendental divinity through religious activities and finally reach perfect union of goodness and beauty. As for China, from the first unified dynasty----Qin to the prosperous Han and Tang, main places of public sphere are courts and schools. Because political powers completely control the intellectual class, subjects of criticism in public sphere are institutionalized. Public spaces decrease to the utmost. Tradition of free discussions among scholar-bureaucrats struggles to maintain the existence of public sphere. All these make the function of criticism of the intellectual class as a whole dissolve. There is no sensible criticism as a whole, but only few individual protests. Aesthetic experiences hereby turn into subordinate of feudal moral and ethical symbols of worldly life.Chapter Four explores the development of public sphere and disenchantment of emotions. Renaissance and the Enlightenment Movement cooperate to help the formation of a citizen society in Europe. As a result, religious culture is replaced by worldly culture; individuals are released from churches; personal sphere is separated from the state. The main places of public sphere are no longer churches but squares again. As the critical nature of public sphere emerges, aesthetic experiences are liberated from the threat of religion and public power. Consequently, humanists and enlighteners show their individuality and experiences without reservation as subjects of criticism in public sphere. Aesthetic experiences give off a blaze of humanity that have never been emitted before. China, however, starts its modernization from the Song Dynasty, and the process does not end until the dusk of the Qing Dynasty----the end of whole feudal society in China. Knowledge discourse and political power separate as well as counteract. The main places of public sphere are courts and schools, especially the colleges. The neo-Confucianism in the Song and Ming dynasties greatly influence the evolvement of knowledge and thoughts, and the evolution of culture and art henceforth. Accompanied by the development of commercial economy and prosperity of private schools, Chinese society bears a tendency of secularization and citizenization. All these lead to the emergence and development of a public sphere in literature. Aesthetic experiences represent peculiar secularity and individuation that have never been seen.Chapter Five discusses the transfiguration of modern public sphere in the middle of 19^th century and features of aesthetic salvation. In the west, with e development of capitalism and rationality, the fusion of state and society leads to the transfiguration of public sphere of bourgeoisie. Critical public becomes consumptive public. Public sphere loses it independent function of criticism and is manipulated by state power. As "the flowers of evil", aesthetic experiences present the reasonability of satisfaction and fullfill the assignment of aesthetic salvation. The latest one hundred year is an era of turbulence in China. Historical themes in this period are against invasion, searching for independence, freedom and democracy. During this period, state mobilizes the whole society in the name of nation, which makes the unity of state and society. Finally, the expansion of political public sphere overwhelms personal sphere. Aesthetic experiences shoulder a responsibility of constructing the identity of nation, identity of state and identity of culture. Social concerns substitute personal emotions, and aesthetic salvation merges into national liberation and development.Chapter Six studies the issue of reconstruction of public sphere and features of emotional experiences in a time of globalization. In the globalized and informationalized world, freedom and equality, rational argumentation, harmonious communication are realized in public sphere as they are meant to be. Subjects of aesthetic communication in public sphere become some changeable selves and others, some vagrants and travelers. The places they have been are totally surrounded by visual information, which provides instant satisfaction for thirsty bodies. However, aesthetic objects in public sphere are merely constantly changing imitated images. Because of the ambiguity of virtual reality and realistic fiction, the internet space highlights the rupture of people’s feelings and its substitution----electronic fiction. Subjects of aesthetic communication in public sphere in the internet time are transformed in to bits, which have no weight or quality, exist nowhere yet everywhere. As an infeasible ideal and an aesthetic image, all information from all times and all places get together in the end.The conclusion points out that aesthetic communication is a kind of communication both of emotions and interest. Whereas it is the public sphere which we must enter into provides us the feasibility of this communication. Aesthetic communication in public sphere purifies the emotional rushes in human behaviors and makes them more sensible, while it also weakens the compulsion of human sense so as to make their behaviors more sensitive and free. All in all, only when we are selfless and return back to public life, may we realize transcendental co-existence.更多还原