审美情境与美感

【作者】 李波；

【导师】 郑元者；

【作者基本信息】 复旦大学 ， 文艺学， 2005， 博士

【副题名】美感的人类学分析

【摘要】 本文采用艺术人类学视角以及研究策略,以历史与逻辑统一的历史优先性作为原则,以不同民族的人对现实的审美关系作为研究前提,从美感的形成机制入手探讨美感问题。 美感研究中有几个亟待解决的问题:一、不同时代或不同文化区域的“美感普遍性”假设是否成立?二、审美主体与审美客体是否是二元对立的?如果不是二元对立的?审美主体与审美客体的关系是什么?三、在具体的审美活动中,如何考察艺术品或者艺术行为的文化属性与审美属性?本文试图以审美情境作为审美活动得以发生、发展的效应环境和关系系统,勾勒主体的文化认知图式,分析艺术语境中审美意图的表现形态,描述不同情境中的审美主客的遇合方式及情感反应模式,进而梳理审美判断的多重标准。通过比较不同文化区域中的审美事实,分析在审美情境中审美主体与不同文化区域中的审美客体发生关系的方式,勾勒美感与文化、美感与人、美感与审美情境等的多维关系,并综合研究美感的复杂性。从而使美感研究做到理论建构与审美实践相结合。 全文共四章。在《引言》中,首先谈到美感研究的范式变革问题,通过本体论范式的美感研究、知识论范式的美感研究和艺术人类学范式的美感研究,把美感研究的范式转变不仅看作学科方法上的应用,而且看作当代思维范式变革和转换在美学研究中的反映。其次,通过对“美感”这一术语的语义学分析,确立“美感”这一术语在当代美感研究中的合法性。进而分析美感的文化相对性、不可通约性等显示美感问题的复杂性,并以美感的类型分析揭示美感研究的必要性和当代意义。在正文部分,第一章阐释“审美情境”的理论内涵,分析审美情境的构成要素以及它的转换机制等对美感研究的意义。第二章通过分析审美情境与审美活动的关系,比较对审美流程的不同观点,勾勒出审美情境中的审美流程图,以图表的形式复现美感生成的几个主导因素以及它们相互作用的复杂性。第三章论述在一定的审美情境中,影响美感形成的审美客体的关键要素:语境和审美意图。第四章论述审美判断。在这一章主要研究审美判断的主体条件——审美认知图示,影响审美判断的知识以及审美标准等,通过对影响审美判断的要素分析,把美感问题的复杂性加以细化,并揭示出跨文化背景下美感研究的新景观。更多还原

【Abstract】 This essay adopts the view of anthropology of art and its study strategy; takes as rule the historical priority which is the unity of history and logic; sets on the basis of the realistic aesthetic relation from the eyes of people with different nationalities; begins with the formational mechanism of aesthetic perception to study the issue of aesthetic perception.There are three questions that are urgent to be resolved in the investigation of aesthetic perception. First, does the hypothesis hold water that there is the university of aesthetic perception in the different periods and different cultural regions? Secondly, is the aesthetic subject and object dualistic-opposition relationship? If not, what is the relation between them? Thirdly, how should the cultural attributes and the aesthetic attributes of artistic work or artistic activity be considered in the concrete aesthetic activity? The thesis tries to take the aesthetic situation as the situation of the effect and the system of relation in which the aesthetic activity happens and develops, sketch the chart of cultural perception of the subject, analyze the form of the expression of the intention of the aesthetic perception, describe the method of meeting and the model of emotional reaction between the aesthetic subject and object in the different situation, and organize the multiplied maxim of the aesthetic reading and judgment. Through comparing the aesthetic facts of different cultural region, the thesis tries to analyze the way in which the aesthetic subjects are related to the aesthetic objects of different cultural region in the aesthetic situation, sketch the multidimensional relation between the aesthetic perception and the culture, the aesthetic perception and the human, the aesthetic perception and the aesthetic situation, and synthesize the complicity of the aesthetic perception, in order to make the aesthetic perception unite the formation of theory and the aesthetic practice.There are four chapters in all in this thesis. The foreword firstly talks about the problem on the reform of the normal form. It regards the transformation of the normal form as not only the application of scientific method, but also the reflection of contemporary reform and transformation of the mental normal form in the investigation of the aestheticism through更多还原