【作者】 黄健云；

【导师】 张玉能；

【作者基本信息】 华中师范大学 ， 文艺学， 2008， 博士

【摘要】 美感是美学研究的核心问题之一,西方美学很早就开始了对这种特殊情感的探索,特别是自19世纪60年代心理学美学兴起之后,美学家对美感的探讨就更为深入,认识也更为深刻了。心理学美学的一个重要特点是运用自然科学的手段,通过精确的度量、统计和实验,试图对审美活动作出较为精确的描绘,并进而解答美感是如何产生的。这种方法绵延了一百多年,虽然取得了比较明显的成果,但是,对美感之谜的解答仍然不能令人满意。新中国美学是从讨论美和美感的本质及其关系开始的,经过20世纪50—60年代的美学大讨论、80年代的美学热、90年代中后期至现在的美学论争(主要是实践美学和“后实践美学”之争),产生了一个坚持马克思主义实践观、并与时俱进的美学流派——新实践美学。新实践美学认为,美和美感是同时产生于实践过程中的,美是审美客体“特殊”的一种存在方式,美感是在审美关系中审美主体对审美客体的“特殊”体验和把握过程中的一种情感体验,美感产生于实践—创造—自由的价值生成中。按新实践美学的观点,美感表现为人的本质力量对象化或者自由显现之后主体对它的感受、体验、观照、欣赏和评价,以及由此在内心生活中所引起的满足感、快感、幸福感、和谐感和自由感。美感的特征表现为:生成的直觉性、过程的情感愉悦性、结果的情感陶醉性。从表面层次看,美感是源于审美主体对审美客体的“特殊”的体验和把握。所谓“特殊”,从哲学意义上说,“特殊”是指一个事物区别于其它事物的明显特征或标志。从美学意义上说,“特殊”首先是指不同的审美对象以具体特殊的形态存在——或是动态的主观体验、生命的模式、感知、情绪、情感,或者是特殊的声音,或者是特殊的形状,或者是特殊的色彩,甚至是特殊的运动态势等等,这些特殊的情绪、声、光、色、形或运动态势都能够以独特的形态唤起审美主体的审美体验。其次,“特殊”还指由人创造并能使人产生美感的一种能够直观感受到的事物的独特表现。“特殊”对美感的意义表现在两个方面:从对“欣赏型”的审美主体的美感产生的意义看,起着“震惊”的作用;从对“创造型”的审美主体的影响意义看,起着“引导”的作用。对“特殊”的重视,是西方美学的传统之一,古希腊罗马时期,视“形式”的“特殊”为美感之源;文艺复兴时期,视“规则”的“特殊”为美感之源;启蒙主义时期。视“理性”的“特殊”为美感之源:与启蒙主义同时兴起的英国经验主义,则视“经验”的“特殊”为美感之源;德国古典主义美学时期,视“先验理性”或“理念”的“特殊”为美感之源。因此,从“特殊”与美感的关系探讨其形态及其根源是有理论渊源和学理依据的。“特殊”向“美感”的转化需要三个条件:一是一般客体本身蕴含着审美潜能;二是一般主体本身具有审美潜力:三是主体和客体之间要建构起审美关系。审美潜能的发挥、审美潜力的挖掘、审美关系的建构都离不开人的实践活动的开展和拓展。审美的主要对象——自然美、艺术美和社会美分别以其“特殊”的形态影响美感的生成。自然美是自然现象或自然事物之美;自然美的美感之源一方面在于自然美形象的独特性,一方面在于人在实践的基础上与自然形成的和谐关系。艺术美是艺术家对社会生活进行集中、概括、加工、提炼所创造出来的美:艺术美的美感之源在于艺术创新给欣赏者带来的感动和震撼。社会美是指社会现象和社会事物的美:社会美的美感之源一方面在于人和社会关系以及“真”和“善”结合之和谐,一方面在于它是人的自由天性的独特表现形式。实践是“特殊”得以形成的根基,也是美感得以产生之根本。物质生产、精神生产、话语实践是实践的三种不同形式,它们分别是审美主体实现物质生产自由、精神生产自由和话语实践自由的手段。自由实现的过程,也是美和美感生成的过程。实践还是审美主体的“特殊”能力和审美客体“特殊”形态形成的基础。从审美主体的“特殊”能力形成的情况看,一方面,物质生产的实践促使了整个人类审美能力的形成;另一方面,艺术实践促进了审美主体个人审美能力的形成和发展。从审美客体的“特殊”形态的形成看,劳动实践是审美客体生成的前提条件,也是审美客体不断丰富的手段,还是人类从必然王国进入自由王国实现自由,进而进入审美世界的必然手段。所以,本文认为,从表面层次看,“特殊”是美和美感得以生成的中介和前提;审美关系的建构则是美和美感产生的条件;从深层次看,“特殊”源于实践—创造—自由。没有实践,人类就不可能生存和发展;没有创造,人就无法把自己的本质力量对象化到对象中去,也不能在“特殊”的对象中观照自己;没有自由,人就无法超越物质的、功利的束缚,就不能进行审美活动,因此,美感的根源在于实践,“特殊”在美和美感生成的途中,主要是起到一种中介的作用。更多还原

【Abstract】 Aesthetic sense is one of the key problems in aesthetic study. It is very early that western aesthetics began to explore aesthetic sense. Since the 1860s when psychology aesthetic developed, estheticians undertook further study on aesthetic sense. One important characteristic of psychology aesthetics is to make nearly exact descriptions of aesthetic activities and to explain how aesthetic sense is generated by applying approaches of natural science in terms of exact measure, statistics and experiment. This method, which was applied for more than one hundred years, brought some fruits, while it chould not give satisfactory answers to the myth of aesthetic sense.New Chinese aesthetics, which started from the discussion on the nature of beauty and aesthetic sense and their relationship, went through hot aesthetic discussion in 1950s-1960s, aesthetic prevalence in 1980s, and aesthetic contestation, debate between prctical aesthetics and "post-practical aesthetics", from 1990s to nowadays. New practical aesthetics came into being which adheres to Marxist viewpoint of practice and keeps pace with times. New practical aesthetics believes that beauty and aesthetic sense produce in the process of practice simultaneously. Beauty is an existing way of "specialty" of aesthetic object. Aesthetic sense is aesthetic subject’s "specialty" experience of aesthetic object in the aesthetic relationship and an emotional experience to control process. Aesthetic sense produces in the value generation of practice - creativity - freedom.According to the viewpoints of new practical aesthetics, aesthetic sense manifests itself as object-turning of human being’s inbeing strength or subject’s feeling, experience, attention, appreciation and appraisal of freedom after it manifests, and satisfaction, pleasure, happiness, harmony and freedom evoked from that in the inner world. The characteristic of aesthetic sense is represented as intuition of generation, emotional pleasure of process and emotional inebriation of consequence.From the surface level, aesthetic sense originates in aesthetic subject’s experience and grasp of object’s "specialty", which refers to obvious features or characteristic one thing possesses to distinct from others philosophically. In aesthetic sense, "specialty", at first, refers to different aesthetic targets’ existence with specific special form, which is dynamic subjective experience, vital mode, apperception, mood, emotion, or special sound, or special shape, or special color, and even special motorial state, etc. All of those can evoke aesthetic subject’s aesthetic experience through their special form. Secondly, "specialty" refers to a special manifestation which is created by man, causes man’d aesthetic sense, and can be felt intuitively. The significance of "specialty" to aesthetic sense appears in the following two aspects. For "to-appreciate-type" aesthetic subject, it is a "shock"; for "to-create-type" one, it is a "lead".To pay attention to "specialty" is one of the traditions for western aesthetics. In ancient Greece and Rome, the "specialty" of "form" was the origin of aesthetic sense. In the Renaissance, the "specialty" of "rule" was the origin of aesthetic sense. In the Didactic period, the "specialty" of "logos" was the origin of aesthetic sense. Britain empiricism considered the "specialty" of "experience" as the origin of aesthetic sense. In German classical aesthetics period, the "specialty" of "ipriority"or "idea" was the origin of aesthetic sense. To discuss the form and origin of "specialty" and aesthetic sense in terms of their relationship, therefore, has theoretical source and academic roots.Transference from "specialty" to "aesthetic sense" demands three conditions. Firstly, general object itself contains aesthetic potential; secondly, general subject himself possesses aesthetic potential; lastly, aesthetic relationship should be constructed between subject and object. Excavation and developmeng of aesthetic potential and construction of aesthetic relationship demands human being’s practical activities.The main aesthetic targets - natural beauty, artistic beauty, social beauty - affect the generation of aesthetic sense through their "special" existence. Natural beauty is the beauty of natural phenomena or things. The source of natural beauty is, on the one hand, the specialty in the appearance of natural beauty, on the other hand, the harmonious relationship between the nature and human being based on his practice. Aritstic beauty is created beauty by artists by concentrating, generalizing, processing, and abstracting social life. The source of social beauty is, on the one hand, the harmony of human-society relationship and of "truth"-"goodness" combination, on the other hand, the special form of human’s free nature.Practice is the fundamental basis of "specialty" and aesthetic sense. Material production, mental production, and discourse practice are the three diferent forms of pracitce. They are respectively aesthetic subject’s method to realize the freedom of material produciton, mental production and discourse practice. The process of realizing freedom is also the process of generating beauty and aesthetic sense.Practice is also the fundamental basis of aesthetic subject’s "special" facaulty and aesthetic object’s "special" form. In terms of the former, on the one hand, the practice of material production propells the formation of human being’s aesthetic facaulty; on the other hand, artisitc practice propells the formation and development of individual aesthetic subject’s aesthetic facaulty. In terms of the latter, labor practice is the prerequisite of aesthetic object’s generation, and the way of improving aesthetic object. It is also the way for human being to realize freedom from necessity realm to freedom realm, and then to aesthetic world. The dissertation therefore believes that, from the surface level, "specialty" is the agency and the premise of the generation of beauty and aesthetic sense; it is the conditions of beauty an aesthetic sense to build the esthetic relations;from the deep level, "specialty" originates from practice-creation-freedom. No practice, human being would not have existed and developed; no creation, human being would not have targetized his own inbeing force into targets, and would not have thought about himself from "special" targets; no freedom, human being would not have passed beyond the material and utilitarian limits, and would not have undertaken aesthetic activities. In contusion, aesthetic sense originates from pracitice, and "speicalty" plays a role as an agency in the generation of beauty and aesthetic sense.更多还原