【作者】 王玉兰；

【导师】 杜奋嘉；

【作者基本信息】 广西师范大学 ， 文艺学， 2001， 硕士

【摘要】 现代社会的科学应该是自然科学和人文科学的有机综合，而一切科学的价值都应该是一种美学价值，都以人的全面发展和进步为目的，以人的价值为价值。对于审美文化，在其概念已基本确定、现状已基本详述以后，需要做的就是在以人为本的基点上对之进行批判和重建。审美文化的当代勃兴是与社会主义市场经济的推进分不开的；生产科技化、社会信息化、文化工业化是当代审美文化兴起的历史土壤。市场经济的纵深发展给人们带来了更多的自由时间，并且促成了个体审美意识的普遍觉醒。这是当代文化和审美活动得以广泛开展的前提条件。作为对中国当代文化总体性特征的一个概括，审美文化大致可以表述为精英文化、大众文化以及主流文化三大块。不过，由于所基于的社会现实的不同，这三种文化形态在审美文化意义上的内涵所指不完全等同于传统上对它们的指称。在审美文化意义上，三种文化形态对应的是多元化的当代社会历史，不同于过去那一体化的社会背景。 以追寻趣味、崇尚快乐为主要特点的大众文化，它从客观上拓宽了人们的心灵空间，强化了人们的生存体验，为人类的感性解放作出了极大的贡献；感性、现实性是人作为一个完整性生命存在的重要特征，自古以来，感性觉醒与审美问题都是息息相关的。感性的解放是审美解放的重要组成部分，是人类解放的重要组成部分。大众文化以自身那介入和参与的特性凸显了人的身体在文化中的表达，强化了人类的视觉功能，使人们对世界的感知模式由单一而渐趋全面。大众文化以其感性审美的特点贴近人们的日常心理和情感，在人们的日常生活中造成一种近乎狂欢化的场面。与此相对而言，精英文化的处境则显得冷清得多。这样，在大众文化和精英文化之间就构成了审美文化冲突的第一层面：狂欢与火落。 精英文化更多的是秉承了传统的文化理念。它力图要做的是通过创作来探讨社会和人生的诸多问题，具有强烈的忧患意识和载道意识。而大众文化更多的是表现为文化的一种生产体系，它所抱持的观点是设法“让大伙儿高兴”，在人们的高兴当中赚取丰厚的商业利润。由于大众文化沉浸于关心当下而乏于理性的关怀，狂欢的人众又普遍陷入一种孤独和焦虑的状态之中。而冷寂中的精英文化则仍然孜孜不倦地守望着人类的精神理性。这种精神理性是人类历史发展和进步的内在动力，是人类在未来发展之途上的价值关怀。因此，在向未来这一更为深刻的层面，乏于理想关怀的大众文化再次与精英文化形成对立，从而构成审美文化冲突的第二层面：守望和焦虑。 美学的重建在根本上也就是人类对自身的重新认识和思考。在当代历史文化条件下，审美价值新尺度的重铸可以从审美文化的冲突中获取灵感和启发。大众文化以感性审美为其武器，在较短的时间内挤占了精英文化的大片空间。这必有其合理的地方。粘英文化甘于寂寞，在倍受冷落的情况下仍不改其对人类理想精神的守望，进而在孤独而焦虑的大众面前表现出以退为进的坚定立场和顽强力量。这里面一定也有其合理之处。人既然是一种完整性 的生命存在，那么，在具体的文化和审美实践中，理所当然地就应该尊重人 的感性，在感性充分发展的基础上寻求感性和理性的有机结合。这是“美的规 律”的体现，也是焦虑所由产生的根本原因所在。“美的规律”指的是人在通过 实践活动改造对象世界过程中获得的一种自由规律，它所体现的是主体与其 对象的沟通和融合．焦虑则与其相反，它体现的恰好是主体与其对象的疏离 和分裂。因此，美学重建工作应该从社会现实不断变化的丰富性和复杂性中 寻求人类认识自身、发展自身的最佳契合点，从而为人与自身的和谐统一， 人与社会、自然的和谐统一而不断努力。更多还原

【Abstract】 Sciences of the present should organically integrate natural sector and humantarian sector, and the value of sciences lies in aesthetic values, which equals its values with hum~an values, to the end of the all-out development and improvement on the side of human beings. With its concepts delimited, its present state described in detail, aesthetic culture needs to he criticized and reconstructed on human-oriented foundation. The prosperity of contemporary aesthetic culture is inseparable with the compelling power of socialist market economy, and the historical matrix for aesthetic culture jfrS the science-powered production, the informationized society, and the industrialized cultures. The intensive development of market econcmy provides people with more free time, moreover, it awakes individuals to aesthetic culture. People’s free time and awakeness are prerequisites for the extensive development of aesthetic activities. To sum up the general characteristic of China’s contemporary culture, aesthetic culture can be subsumed into three domains, that is, the elite culture, the popular culture and the mainstream culture. However, on account of the varied social realities on which they are based, the three cultures signified connotations which are not completely in a line with what traditions signify them. In respect to aesthetic culture, the multi-faceted contcniporary history response to the three domains of cultures, which is different from the unitary social background.Characteristic of interest-pursuit, happiness-worship, the popular culture objectively broadens the mental space of mankind, reinforces people’s living experiences, and contributes a lot to human perceptive liberation. l~ercept ion and reality are important traits ~ human beings as cow.plete lives. Since the ancient times on, perceptive awakening is in close relation ~o aesthetic problems. l~erception is a vital constituent of aesthetic liberation, a main part of human liberation at that. Owing to its participating spirit, the popular culture manifests the expression of human bodies in culture and reinforces visual function of human beings, and enable people’s perception of the world to evolve from simplexness to comprehensiveness. The popular culture comes close people’s everyda.y mentality and emotions; causing gala-like occasions. In contrast, the elite culture faces a much more desolate situation. As a result, between the popular culture and elite culture, there appears the first aesthetic cultural conflict i.e. gala vs loss. The elite culture inherits more conventional culture rations, and what it strives to do is inquire into problems of society and life by the means of creation, thus having3strong worrying mentality and ethical awareness. As a contrast, the popular culture displays itself as a producing system, which benetit financially from the joys and pleasure of its audience, with ’making people joyful’ as its main aim. The popular culture immerses in the present, meanwhile neglecting, at least to some extent, the rational concerns. Naturally, the reveling populace get entangled into loneliness and worry. Compared with this, the desolate elite culture still tirelessly keeps human being’s spiritual rationalism, which is the inner motivation fur historical evolution and advancement, and the concerns of value for human’s future development. Therefore, as far as the deep level of future is concerned, the popular culture again contrast sharply with the elite culture, hence the second aesthetic cultural conflict, i.e., watch-keeping vs worry.The reconstruction of aesthetics is human fundamental reflection on themselves. Under contemporary historical and cultural conditions, the conflicts in aesthetic culture illuminate and motivate the reshaping of the new yardsticks for aesthetic values. The popui~ar culture uses perceptive aesthetics as its weapon, and occupied large patches of space of the elite culture, Which is reasonable in some sense. The elite culture, disregarding its loneliness, keeps watching on human spiritual ra更多还原