新时期审美文化中的苦难意识研究

【作者】 张景艳；

【导师】 李红春；

【作者基本信息】 山东师范大学 ， 美学， 2008， 硕士

【摘要】 苦难意识是人生意识的重要组成元素,它着重探讨人的生存境遇,人在其中的生命态度及人生情怀等问题。新时期审美文化中有关苦难主题的书写随时代变迁,侧重点有所不同,创作者的苦难意识也因此有所殊异。前人对此研究一般着眼于个案分析,且多站在肯定性的立场上,对其系统性的概述与局限性的分析较少,或者不够深入。本文力图站在前人研究的基础上,通过对“苦难意识”在新时期审美文化中的表现及重点分析,来进一步彰显这一人生意识在文化艺术创作中所应含纳的理性品格、生命态度及人生情怀等。全文由六个部分组成:第一章:“苦难意识”的内涵及美学价值。首先,对“苦难意识”这一人生范畴进行内涵分析及美学价值的思考,这为全面分析新时期审美文化中有关“苦难意识”表达的主题提供理论依据。其次,从三个方面重点探讨“苦难意识”的美学价值。它使得艺术家在素材的选择上着眼于人的生存境遇等现实或精神世界的问题;它的艺术化展现使文本在风格上往往呈现厚重的、严肃的、深沉的特征,这是人生沉重的母题使然;在审美感受上,也往往给人们带来悲婉的情绪体验,并促使人们思考人生境遇、人生态度、人生情怀等问题。第二章:70年代末-80年代初,人性初步解放后的苦难意识。首先,梳理这个历史阶段中与“文革”苦难主题相关的“感伤”、“反思”审美文化,从中剖出创作者在这样的人生遭际中的态度选择、情感反应及理性认知程度。对于“感伤”系列,创作者倾诉苦难,指控文革罪行,并在对清官戏的钟爱里,渴望一种失意心理的补偿。在“反思”系列中,创作者重点探入历史进程的深部,反思这场劫难在当代中国上演的政治性根源。其次,对创作者在此时期审美文本中所流露出的苦难意识进行分析,重点指出局限性:对外倾诉、对外反思的心理思维机制抵消了自我追思的能力;清官救世的代偿心理遮蔽了现实的、制度的、人性的等因素导致的苦难真相,不利于一个真正清明社会的构建。第三章:80年代中期,文化寻根派的苦难意识。首先,梳理文化寻根派中揭示传统文化负面因素的审美文化,它们与民族的落后、地区的贫穷、人性的扭曲等苦难事实不无关联,从中窥出创作者对人生的苦难根源作出的文化性理解,合理性自不待言,重点探讨创作者一味展示传统文化鄙俗的漏缺:中国现代化进程中遇到的障碍与文化影响存有关联,但不是根本的,而且,创作者大肆渲染文化鄙俗,对于民族自信心的构建是否起着瓦解作用有待考虑。再者,梳理创作者褒赞传统儒道佛人生智慧的审美文化,从中窥出其在人生困境中的人生态度:选择消解的轻,拒绝正视的重。传统生存智慧具有合理性与现实意义,但若偏执地褒扬老庄精神,不免陷入阿Q的自欺;一味地认同儒家精神,不免遗弃了鲁迅的重要思想资源——对仁义吃人本质的揭露与批判精神。第四章:现代主义思潮影响下的苦难意识。首先,梳理受现代主义艺术形式影响,表达人们生存苦痛的先锋审美文化,从中窥出创作者在描述不幸场面时的冷静和残酷态度。分析这种叙事态度对于人类生存之“真”的揭示相当深刻,但并不意味创作者可以丢弃道德判断,对充斥其中的血腥、暴力场面无动于衷,这是违背苦难意识的人生关怀要义的。其次,梳理受西方现代主义哲理观念和表现形式影响的审美文化。中国的现代主义者们表达人物的精神苦痛、迷惘与困惑具有深刻性,但同时注意到,由于受本土化价值观念和哲学思想的影响,无论他们如何表达一种存在的苦痛,总不可避免地要在历史的,现实的土壤中尘埃落定,并不能像西方的现代主义者们真正上升到一种形而上的高度表达存在的苦痛。第五章:后现代主义思潮影响下的苦难意识。后现代主义的基本特征是解构和狂欢。首先梳理带有解构特征的新写实小说,它旨在叙述世俗人生中“小人物”在“吃”和“住”这两大基本物质窘况中的灰色生活和灰色精神。创作者展示人们的物质苦难无可厚非,但被一味地铺展、渲染,将其放大至前台,是否反应了创作者乃至一个民族在其面前的不堪重负和基本的素质问题呢?再者,随着商品经济的进一步发展,中国社会进入了一个新的历史拐点,审美文化上带有消费性、游戏性、狂欢性的特征,文化人也多多少少带上了“中产阶级”的气质和特征,这种文化氛围使许多现实人生的、社会的问题被遮蔽,文艺创作者也流露出了漠视他人苦难,不愿发现,也不想正视身边苦难的态度,这就使得他们普遍遗忘了一个创作者所应有的悲天悯人的情怀。不可否认,游戏精神、人生幸福的必要性,但并不意味着因此可以丢弃一个艺术家的人生关怀精神。当然,事情不是绝对的,在这种现实文化时空下,还是存有保持冷静头脑,选择“惊动视听”的方式表达底层生存境遇的审美文化,创作者行走在社会的特殊领域和生存地带,为真实人生提供一份心灵的标本,而且,他们立场下倾,在平等的叙事态度里,展现了一个艺术家体恤、悲悯、尊重不幸生命的情怀。余论:打工文化领域中的苦难意识。主要展示时下被文艺界热度关注的“打工者写”的审美文化。在改革开放和市场经济的背景下,先在东莞、珠江三角洲,后又扩展之全国范围内经济相对发达的地区汇聚了成千上万的外来务工者,他们在繁重艰辛的工作之外,用自己的画笔绘出了心灵的图景和对个体生存境遇的思考。打工者特殊的身份、特殊的生活方式使得其创作带有强烈的真实性和现实感,他们通过文笔展示个体的生存状况和生命体验,表达个体对现代工业文明下诸多不文明、不人性、不合理事实的思考,使文本走出了简单“倾吐苦难”、一味“切近苦难”的表达方式,这为构建和谐文明社会提供了一份个人例证,具有一定的深度和现实意义。更多还原

【Abstract】 Suffering consciousness is an important component of the life sense, which focuses on people’s living conditions, the life attitude , the life feelings and other issues. The theme of the suffering written in the Aesthetic culture of the New Era with the changing times, focusing on different senses, the suffering consciousness of creators also have distinct features. Previous studies generally focused on the case analysis, and mostly standed on the affirmative position; the systematic overview and analysis of the limitations were less, or not thorough enough. This paper seeks to stand on the basis of previous studies ,to further highlight the rational feature, the life of being and its sentiments through the performances and key analysis of suffering consciousness in the new era’aesthetic culture.The full text is divided into six parts:Chapter 1: The content and aesthetic values of the suffering consciousness .First, analyzing its content and thinking aesthetic values, which can provide a theoretical basis about the theme. Then, discuss suffering consciousness’s aesthetic values from three views. It makes artist focus on the existence of people in the reality or the spiritual world in the choice of material; its art performance makes the text heavy , serious, deep, because of the heavy life .In the aesthetic feelings, people also tend to grief emotional experience, and urge to think about life’s situation, life’s attitude, life’s feelings, and other issues.Chapter 2: The end of the 1970 -early 80s, the suffering consciousness after the liberation of humanity. First, sort out the culture relating to the suffering theme in this historical stage: the "sentiment" and "reflection" series, in which We can cut open creators’attitude of choice, emotional reaction and rational level sentiment. In the "sentimental" series, creators talk suffering, allege the Cultural Revolution’s crimes, and want to make a frustrated desire psychological compensation in the favorite drama. In the Reflection series, the creators focus on the exploration of the deep historical process, to reflect on the political causes of the catastrophe in contemporary China stage. Second, analyze the creators’suffering consciousness in this period , mostly pointing out its limitations: External talk, external reflection offset the ability of self-memorial; the compensatory psychological obscures the true suffering caused by the reality , system, or the being ,not conducive to a genuine clear and bright social Construction.Chapter 3: In the mid-1980s, the suffering consciousness of the cultural root faction. First, sort out the aesthetic culture relating to the negative factors of the traditional culture, which are related to the nation’backwardness, the region’s poverty, the distorted human ,as to glean the causes of the suffering from the cultural understanding. Rationality is clear, we mostly discuss the unreasonable that the authors focus on a display of traditional culture blindly: cultural implications relate to the obstacles encountered in China’s modernization process, but is not fundament, and, creators loudly proclaim the nation’s negative culture ,which is considered if playing a role for the construction of the national self-confidence. Then, sort out life’s traditional wisdom that creators praise, and we can glean their life attitude: Select digestion light, refuse to face up to the weight. Traditional wisdom survival is reasonable and practical, but to compliment Laozhuang’s spirit, it is inevitable to get into a self deceiving; blindly agree with the spirit of the Confucianism, it is inevitable to abandon the important thinking of LuXun’s resources - the exposure of the humanity’s cannibalism nature and critical spirit.Chapter 4: Suffering consciousness in the influence of the modern trend. First, sort out the vanguard aesthetic culture about survival of lives influenced by modern art forms, in which we glean the creators’calm and cruel attitude from the scene description of unfortunate disaster. Analyze its depth using this narrative attitude for human’s survival, but it does not mean that creators can therefore discard moral judgement, indifferent to the bloody, violent scenes, which is contrary to the essence of care . Secondly, sort out the aesthetic culture relating to the modern Western concept of philosophy .China’s modern expression of those who have the spirit suffering and interference is profound, but it also should be noted that, due to the local values and philosophy impact, no matter how they express the sufferings of being, it is always settled in the soil of history and reality, and can not be like the West who are truly modern and up to a metaphysical existence of the high degree to express the endogenous pain.Chapter 5: Suffering consciousness in the influence of Post-modern trend. Postmodernism’s basic feature is deconstruction and rave. First, sort out the new realism’s novels having deconstruction characteristics. It seeks to describe the grey living and spirit about "the little guy" in the two basic material "food" and "live" .It is understandable that creators display material suffering , but if it is blindly rollout, rendering, and enlarge on the stage, it is considerable about creators’reaction, and even a nation’s quality in the face of the basic problems .Moreover, with the further development of the commodity economy, Chinese society has entered a new historical turning point, aesthetic culture has the features of consumer, games, carnival. The intellectuals more or less put on the middle class’s temperament and features ,which make them obscure many real life and social issues; artistic creators also express the neglect of others suffering, not will to find or not to address the suffering around, so they generally forget one of the creators’sympathizing sentiments. It is undeniable to pursuit the spirit’s game, the need for a happy life, but it does not mean that they can dispose of a caring spirit. However, it is not absolute, in the cultural reality of this time, there still remain such aesthetic culture which artists keep calm mind, select "alerted the public" to the bottom of the survival situation. Creators walk in the community, special areas and survival zone, provide a true spiritual life of specimens, and they stand under the dumping, with the narrative attitude of equality, display a compassionate, compassion, respect sentiments for the lives of the unfortunate lives.More discussion: Suffering consciousness in the working field .Display mostly the aesthetic culture of the arts "wage to write" concerned currently. Under the background of the reform, opening and the market economy , mainly in Dong guan, the Pearl River Delta and other areas, millions of migrant workers come there, who are heavy in hard work, using their own brushes paint a picture of the soul and individual survival of the situation to ponder. Employees’special status, special lifestyle make their creativity with a strong sense of reality and authenticity. With the words, they display individual living conditions ,life experience, individual expression of many uncivilized, not human nature, and unreasonable facts under modern industrial civilization .the text has walked out such means of expression as simple "pouring suffering" ,blindly "closing to suffering", which provide a personal example for the building of a harmonious civil society ,and have certain depth and practical significance.更多还原