二十世纪西方艺术形式论

【作者】 陈涛；

【导师】 赵利民；

【作者基本信息】 曲阜师范大学 ， 文艺学， 2004， 硕士

【摘要】 西方人眼中的世界是一个实体的世界，实体的具体化就是形式，西方艺术受制于文化的形式原则，必然在艺术创作和艺术审美中都体现出形式美的法则。古希腊罗马时代出现四种形式概念：即毕达哥拉斯学派的“数理形式”概念，柏拉图的“理式”，亚里士多德的“四因”说，贺拉斯提出了“合式”的概念。而到了近代康德提出了“先验形式”的一元论，黑格尔提出了“内容与形式”的二元论思想，他们通过对美学史的辩证综合和精密的思辨分析，开辟了形式美学的新纪元，为形式美学的现代发展奠定了基础。特别是在20世纪，西方形式美学走向一个多元化的时代，也是自古希腊以来西方形式美学最为繁荣和辉煌的时代。无论是俄国形式主义和英美新批评为代表的“语言形式”，还是结构主义文艺理论的“结构形式”，无论是符号美学的“符号形式”，还是神话原型批评的“原型”和格式塔美学的“格式塔”概念，对于活跃和丰富我们对文学艺术的理性思考，特别是对于开阔我们关于审美和艺术形式的理性思考，无疑是大有裨益的。 在20世纪的美学理论中，俄国形式主义、英美新批评、结构主义等现代美学流派以对艺术形式的审美蕴涵高度重视受到人们关注，即便是标举“外部研究”的诸多派别也都或多或少地顶不住艺术形式的诱惑，有些甚至在无意之中对艺术形式也思虑精深。笔者认为，这些颇有影响力的理论流派不仅大大促进了形式理论的研究，而且流派本身的出现也是人的整体美感能力提高到一个新的层次和水平的明证。 从宏观的角度看，20世纪的形式主义流派的理论、观点是有许多共同点的。任一流派对艺术形式的阐释都在各自的领域里阐明了部分的、相对的真理，而且都是对传统形式理性进行批判地继承的结果，这就关系到一种新的理性的建立，这种理性就是以艺术形式的逻辑来认识和构建一个合乎人的本真存在形态和存在目的的美好世界。人们对艺术形式的不懈追求，主要从四个方面，即形式作为客体范畴、形式作为主体范畴，以及形式作为非主非客和主客相融的四个方面，构成了新形式理性的大厦。认识到这一点，我们可以说，形式的美学在这时已经进入了成熟的时期。19世纪末、20世纪初由于受索绪尔语言学理论的影响，西方哲学逐渐由认识论轴心转到语言论轴心。在当代西方文论中，从俄国形式主义、布拉格学派、语义学和新批评派，到结构主义、符号学，甚至解构主义，虽然具体理论观点大相径庭，但都从不同方面突出了语言论的中心地位.如俄国形式主义者接受、借鉴索绪尔的语言学观点和方法来研究文学，认为文学批评主要应研究文学自身的内部规律，即研究文学作品的语言、风格、结构等形式上的特点和功能;新批评也集中研究作品的“文本”和“肌质”，即其中的语言文字和各种修辞手法，结构主义超越了新批评执着于单部作品语言技巧分析的局限，把具体作品文本看成表面的文学“言语”，而力图透过文本分析，揭示隐藏于深层的文学总体结构即“语言”或“普遍的语法”.语言论的哲学主要关注的就是“我们如何表述我们所知晓的世界的本质”.艺术形式是一个具有特定的多层次结构的系统，即作为一个系统而存在。艺术形式各层次之间并不是机械地连接，而是一个持续性和变化性相互作用的辩证过程。一切结构都有多层次、多方位的动态特征，一切结构都有它的表层和深层.本文从“有机统一”和“复杂多样”两个方面，通过对二十世纪西方形式主义流派的梳理，阐释了“多样统一”这一审美形式的主导原理。 虽然20世纪的西方各形式主义流派对西方形式美学做出了巨大贡献，但这一时期形式美学具有明显的形式主义倾向，这也是不可回避的事实。特别是俄国形式主义，包括英美新批评和结构主义在内的语言学的形式美学，将文学作为一个“封闭系统”，割断文学与社会历史的联系，片面地强调所谓“细读式”、“向心式”的语音、语义和文本结构分析，显然走向了另一个极端. 综观西方古今艺术，艺术形式美具有根本性的意义。随着科学探索客观事物的规律的不断演进和艺术以其表现人对客观规律的认识和把握，形式使杂乱无章的现象取得秋序，艺术的形式一方面给人以审美的快感，另一方面是人类认识能力的自我确证。由于人类实践的局限性，因而科学探索客观规律以人类认识客观规律也就受到了局限，艺术的求真、求知也就受到了局限，艺术的形式美也就成为具体的和历史的.在形式的不断自我否定、自我发展的过程中，艺术的形式美也就具有了从古希腊到现代艺术美的不断演进.然而在西方文化和西方艺术的不断前进中，旧的形式不断突破，新的形式不断产生，形式原则始终没有消失。因此，我们对艺术形式的研究仍然非常重要。更多还原

【Abstract】 In the eyes of westerners, the world is a world of entity, the concretization of which is form. Because the western arts are restricted by the principle of form, there must be the principle of form beauty in art creation and art appreciation. In the time of ancient Greek and Rome, there were four concepts of form Pythagoreans’ mathematical form, Plato’s idea, Aristotle’s four causes, and Horatius’ decorum. In modern time, I. Kant claimed transcendental form, while Hegal the olualism idea of "content and form". Though concise analysis and comprehension, they started a new era for formal aesthetic, and set a base for the modern development of the study of formal aesthetics. Especially in 20 century, western formal aesthetics is the most prosperous and splendid time. No matter the Russian formalism or the new criticism or structuralism, the symbol form of symbol aesthetics or the concept of fable criticism and Gestalt aesthetics, is definitely very significant to enrich our rational thought towards literature art, especially to enlarge our rational thought towards appreciation of the beautiful and art form.In the aesthetic theories of 20 century, it is known that the modern aesthetic schools such as Russian formalism, the new criticism, structuralism pay high attention to aesthetic implication. Although the so-called external investigation schools more or less can’t stand the temptation, some of which even contemplate the form of art carefully unconsciously. As far as I’m concerned, these influential theoretical schools not only promoted the study towards the theory of form, but also proved that the human’s whole aesthetic judgment had reached a new gradation and level.Generally speaking, formalism schools in 20 century share a lot of similarity in theory and opinions. Each school explained pantly, relatively truth in respective field, and herited the traditional form ration with criticism. This fact is related to the foundation of a new ration, which is in form of art to knowand construct the beautiful world fuitable to the existence state and aim. People pursue the form of art persistently mainly in the following four aspects: to take form l)as the objective categories; 2) as the subjective categories, 3)as non-objective or non-subjective categories, and 4),as the combination of subjective and objective. They formed the building of new formal rationalism. Realizing this fact, we can claim that the formal aesthetics has developed to a mature stage. At the turn of 20 century, influenced by saussure’s linguistic theory, western philosophy developed from episternology-centered level to linguistic-centered level. In contemporary western cultural theories, form Russian formalism, prague school, semantics and new criticism school to constructism, study of symbol and even deconstructism, focus the central position of linguistics, though the concrete theoretical opinions are very different. For example, Russian formalism accepted and appreciated. Saussure’s linguistic opinion and method to study literature, and considered that cultural criticism should mainly study the internal rule of literature itself; new criticism also focused on studying "text" and "texture", while constructism went beyond new criticism’s limit of the analysis of single work’s linguistic skills, and took the concrete works as literature "parole", then through text analysis, discovered the deep cultural structure (language or common grammar). The philosophy of linguistics focused mainly on "how do we express the essence of the world we know". The form of art is a system of several specific gradation of structures, that’s to say, it existed as a system. The gradations of form are not a mechanically organized progress, but a continuous and changeable interaction progress. Each structure has several gradations and aspects, and each structure has its superficial and deep structure. Through the review of western formalism in 20 century, this thesis explains the "Combination of diversities principle from the aspects of "organic combination" and "complex更多还原