【作者】 宋洁；

【导师】 张晶；

【作者基本信息】 中国传媒大学 ， 广播电视艺术学， 2009， 博士

【摘要】 本文总体研究思路是在美学、文化学等理论观念与方法的指导下,对电视剧的基本美学范畴——崇高,进行系统的研究。本文围绕“中国电视剧的崇高范畴”展开研究,沿着“世俗化”的理论主线,展开了六个理论命题,具体包括:崇高范畴超越性内涵的美学转向;中国电视剧崇高范畴的动因;中国电视剧崇高范畴的价值范式嬗变;中国电视剧崇高范畴的主题;中国电视剧崇高范畴的表现形式;作为中国电视剧产业内容的崇高范畴。1、崇高范畴是一个美学的经典范畴,所谓经典在这里有两重意义。首先、传统文化是经典美学的母体,因此,崇高作为经典范畴受到传统文化等级秩序中深度意义的规范,其核心内涵为认同神圣价值的纵向超越,超越性的维度建构在从从感性到理性、从此岸到彼岸、世俗世界到神圣世界的纵深线路中。经典崇高的纵向超越凸显出在东西方文化传统中共通的神圣价值源头,但不能掩盖中西方文化中的差异,在两种文化中,崇高的纵向超越范式仍有不同的表现形式。西方经典崇高是建立在西方神学、哲学“世界二分”体系中的美学范畴,根据其文化范式之根本,它的超越性也就体现为建立在两个世界基础上的纵向超越,亦即外在超越。同时,从文化发展的阶段性考察,西方经典崇高对于神圣价值的认同也有两层含义,一、神的本体意义;二、人的本体意义(形而上)。中国传统文化“天人合一”的理念中缺少世界二分模式的对立和冲突,但见一个圆融的世界,因此,中国经典崇高的超越性内涵也显现为建构在一个世界中的纵向超越,亦即内在超越。其次、崇高作为美学的经典范畴,具有深厚的社会历史认同,但也不应该受到“元理论”的拘囿。经典范畴的理论阐发理应受到时间和实践检验,本文对于中国电视剧中崇高范畴的考察就是对于崇高范畴是否具有当下阐释性的重趼,亦即推进经典范畴经典化的研究。崇高作为体现美的本质、人的本质的经典范畴,在当代精神建构仍有重要意义,其以超越性为核心的审美内涵也发生了质的规定性的转向。神圣价值消弭,人类精神世界世俗化构成了人类精神发展中的巨大裂变。在这样的转型中,经典崇高面向神圣世界进行价值认同的纵向超越内涵失去依存空间,转而确立了以日常生活为主体地位的核心内涵,建构了面向世俗世界进行价值认同的“此在——此在”、“有限——有限”的横向超越方式。崇高由此成为了世俗世界的价值认同符号。2、对于作为世俗社会价值认同符号的崇高范畴的考察,日常生活是一个极为重要的场域。电视剧不同于经典文化中的艺术形式,是日常生活的文化形式。因此,对于中国电视剧中崇高范畴的分析应从电视剧与日常生活的关系入手。日常生活作为崇高超越性内涵的现实基础,蕴含着崇高成为世俗社会价值认同符号的发生学动因。第一、日常生活的单一性赋予了崇高在日常生活中升起的实用主义诱因;第二、对日常生活进行本体性反思出现的面向虚无的生存之畏,则是崇高世俗重构的深层动因。3、中国电视剧中的崇高,作为世俗社会的价值认同符号,其价值范式出现了嬗变。首先,崇高的价值秩序从纵向的精英启蒙转向了横向的平民启蒙。经典崇高中依赖纵向超越建构先验精神世界的精英价值基础,被编码为对于日常生活的有限意义进行肯定的平民价值范式。在横向的平民启蒙中建构的崇高,在价值基础上依托日常生活的价值体现,更强调日常生活语境中的书写、价值认同的当下性与情感的逻辑意义,其价值内核中也出现了从追求永恒、无限、绝对意义之真到有限意义之实的转变;其次,从崇高的价值根源看,强调个体生命经验自由出场的主体性崇高,被编码为强调与他者共在的主体间性崇高。这就是崇高在日常生活中重构的特殊主体状态,它取消了绝对的超越和抽象的主体概念,往往只指认与自己共在的共同体,实现了在“此在”中面向他者,与他者共在的“超越”。4、中国电视剧中的崇高,作为世俗社会的价值认同符号,其叙述主题从神本意义上神、天国、上帝,以及追求人本意义上绝对存在的个体性英雄,被编码为世俗世界的“共在”象征符号,以世俗意义共同体的合理性存在消解乌托邦理想的虚幻性。主题一:民族/国家,它作为想象共同体是横向超越中重要的世俗主题,依托电视剧的媒介身份和崇高的审美超越形成了世俗世界的“神圣”仪式,构建了横向超越中的世俗祭坛——“祖国”。主题二:家,它作为伦理共同体是日常生活的基本内容,也是核心内容,因此,电视剧以家为主题的崇高呈现,通过挖掘日常生活的本体意义建构了崇高作为世俗社会价值认同符号的本质内涵,以其为主题的电视剧群落也成为了崇高实现质的规定性转向的关键文本。主题三:英雄,它作为共同体中的理想认同符号建构了世俗崇高的人格化形象——群体性英雄。群体性英雄替代了经典崇高中独立自由的个体性英雄,依附于某种权威并服从于某种权威,具有世俗社会中群体性秩序的特征。5、中国电视剧中的崇高,作为世俗社会的价值认同符号,其表现方式也增加了鲜活生动的世俗化形态。首先,崇高的表现范式中庄重的宏大叙事被编码为平实、轻巧的小型叙事,叙述视角从王者视野转向了个人视野、民间视野,以日常观照的方式看取历史与现实中的崇高,叙事方式出现了反史诗性的转向,以偶然性解构必然性和颠覆英雄神话的方式建构崇高主题;其次,扁型人物作为电视剧中崇高表现形式上的新态势,打破了圆型人物作为崇高人格化形象的大一统格局。单纯作为一种超越的力量,成为了崇高在艺术塑造中人物性格定位中的新倾向。从身份人格衍生而出的扁型人物、对抗性的扁型人物和抽离部分人性塑造的扁型人物,成为崇高在进行扁型人物创作时的主要方法。第三、在悲喜剧范式方面,电视剧中的崇高打破悲剧的主导性地位,出现了悲喜剧互融,甚至突出喜剧范式的创作倾向。喜剧的表现方法呈现了乐感与机智、反思相结合的超越方式,并以喜剧范式中的闯入式结构和肯定性的喜剧人物的塑造,丰富和扭转了崇高既有的艺术表现方式。6、中国电视剧中崇高,作为世俗社会的价值认同符号,消费语境也赋予了崇高不可复制的当代意义:首先,在商品社会中,崇高是因为缺席,成为了消费的内容,并以仪式化的方式构成了一种具有召唤能指的文化符号。作为商品,崇高的审美价值凸现为功用性交换价值,其以商品形式出现的审美体验构成了即时性、代偿性和强制性的心理机制。崇高通过意义符码的消费为这个社会建立了一种新的平衡,但与此同时,崇高在欲望逻辑的钳制下也出现不可忽视的符码畸变。其次,工业技术文明的进步促成电视剧成为一种特殊的产业形式,这也让崇高与“生产”和“再生产”等每一个结构产业链的关键词产生了密切的关联。崇高作为一个美学范畴进入消费领域后,推进了中国电视剧行业中一项独特的内容产业。更多还原

【Abstract】 The paper is aimed to study systematically the basic Aesthetics category of the teleplay—sublime directed by aesthetics, culture and other methodology.The paper studies the sublime category of China’s teleplay. Along the theory line of“worldly”, the paper spreads six theory propositions, which includes the aesthetics shift of sublime category transcendence connotation, the reasons of sublime category of China’s teleplay; the great change of value formula of sublime category of China’s teleplay; the topic of the sublime category of China’s teleplay, the expression of the sublime category of China’s teleplay, and the he sublime category as the content of China’s teleplay industry.1. The sublime category is a canon aesthetics category. The canon here has two meanings. Firstly, the traditional culture is the matrix of canon aesthetics; therefore, as canon aesthetics category, the sublime is standard by deep meaning of traditional culture grade system, with its core connotation of holy value vertical transcendence. The dimensionality of transcendence is built by the deep line from temporal world to holy world, from temporality to faramita, and from sensibility to sense. The canon sublime’s vertical transcendence reveals the same holy value headstream of different traditional culture of the east and the west. However, it can not conceal the cultural difference of the east and the west, which exist different express of sublime’s vertical transcendence formula. The canon sublime of the west is built by the aesthetics of the west divinity and philosophy of two parts system. Based by its culture formula, its transcendence is expressed by the vertical transcendence built by two world base, which is called external transcendence. At the same time, the west canon sublime indentify the holy value with two significations: the first is the holy reality meaning, and the second is the hominine reality meaning (metaphysisc). China’s traditional culture with“the harmony of man with nature”thought tries to show a harmonious world, lacking of opposition and conflict of two-part world pattern. Therefore, china’s traditional canon sublime’s transcendence connotation is presented with vertical transcendence built in one world, which is immanent transcendence.2. as a canon aesthetics category, sublime is deeply indentified by the social history, and is not limited by“metatheory”. The theory of canon category should tested by time and practice. The survey to China’s teleplay sublime category in this paper is the study of weather sublime category possessing present explanation. It is also the study of boosting canon category canonization. As the expression of canon category of beauty essence and human essence, sublime has important meaning to build present inspiration, and its taste connotation with its core of transcendence has qualitative shift. During the shift, the vertical transcendence connotation, which canon sublime carries out value identity with holy world, lacks dependent space, and identifies the core connotation with daily life as main position. The horizontal transcendence pattern of temporal world value identity with“exist-exist”and“limit-limit”is established. Sublime thus became value identity sign of temporal world. 3. Everyday life is important to the survey to the sublime category as temporal society value identity. Different from canon culture arts, the teleplay is everyday life arts. So the analysis of China’s teleplay sublime category should be made from the relations of teleplay and everyday life. Everyday life as the practice basis of sublime transcendence connotation contains the reasons that sublime becomes value identity of temporal society. Firstly, the oneness of everyday life endows practicality inducement which sublime make in everyday life. Secondly, the fear of survival from consideration to everyday life is the deep reason of rebuilding of the temporal sublime. As a value identity sign of temporal society, sublime in China’s teleplay of value pattern has taken great change. Firstly, sublime value grade has developed form vertical elite enlightment to horizontal civilian enlightment. The elite value base of canon sublime, which depend vertical transcendence to build spirit world, is coded with civilian value pattern of limiting meaning of value foundation. The sublime which is built by horizontal civilian enlightment relies on everyday life value expression, emphasizing presence and emotional logical meaning of everyday life calligraphy and value identity. Its value core appears transfer form pursue eternity, immensity and absolute meaning to finite meaning. Secondly, from the sublime value root, main body sublime which focuses on individual life experience freedom is coded to focus on Inter-subjectivity sublime with other coexistent main body. This is the special main body condition of sublime rebuilding in everyday life, which cancel nonfigurative body concept of absolute transcendence. It only recognizes the coexistence with itself and realizes a facing otherness transcendence.4.The sublime in China’s teleplay, as value identity code in temporal society, its narrative topic from spirit, heaven, god of holy world and individual hero of absolute personal meaning, is coded to“coexistence”signal of temporal world. It clears up the utopian transience by temporal community’s rationality. Topic one is the nation, which is an important temporal topic in horizontal transcendence as imagine community. It relies on teleplay as media and sublime taste transcendence to form a“holy”ceremony in temporal world, and to establish a temporal altar in horizontal transcendence—motherland. Topic two is home, which is a basic content of everyday life as an ethic community, and core content. Therefore, sublime in teleplay with home as its topic shows by exploring body meaning in everyday life to establish sublime’s essence connotation as temporal society value identity signal. This type of teleplay also becomes key data of sublime transferring. Topic three is hero. As the ideal identity code in community establish temporal sublime personal vision—colony heroes. Colony hero substitutes independent and free individual hero in canon sublime, leech on to and obey some authorities, and has characteristics of colony order in temporal society。5. The sublime of China’s teleplay is a value identity sign in temporal society, and its expression enriches the vivid temporal forms. Firstly, sublime expression changed form grand narration code to calm and little-narrativite. The narrative view transferred form king to personal and civilian, thus to look into historical and practical sublime in everyday view, and to transfer to anti-epic in narration, and to establish sublime topic by chanciness explaining inevitability and overthrowing hero mythic. Secondly, flat character as a new form of teleplay sublime expression, break out round character personifications. Simplicity as a super power becomes a new trend in personality orientation in arts. The flat character deriving from personality, conflicting flat personality and the flat character taken off part personality have become the main way to invent flat character. Thirdly, in tragicomedy model, teleplay sublime break throw tragicus unifying structure and appears mutual and comedy invention trend. Comedy expression shows a combination of happiness, wisdom and thought, and enriches and turns present arts expression.6. As value identity sign in temporal society, sublime in China’s teleplay is endowed uncopied modern meaning by consumed background. Firstly, in commodity society, sublime becomes consumption because of absence, and becomes a cultural sign of calling up ability by ritualization. As a commodity, sublime taste value is expressed as functional exchange value and its taste experience in commodity form makes up presence, compensatory,and compellent psychology. Sublime establishes a new balance for the society by consuming meaning signal, but at the same time, sublime appears unneglectable code aberrance by suppressed desire logic, secondly, industrial and technological civilization makes teleplay a special industrial form, which also makes sublime have deep connectionwith“production”,“reproduction”and every key words in industrial chain. Sublime as a taste category steps into consumption fields and boosts a particular content industry in China’s teleplay industry.更多还原