“日常生活审美化”语境下的新型文化媒介人刍议

发布时间：2018-04-27 22:24

本文选题：日常生活审美化 + 新型文化媒介人　；参考：《中南民族大学》2013年硕士论文

【摘要】：20世纪以前，日常生活在西方哲学研究中几乎处在一个无人关注的地位。直到20世纪，德国的现象学才真正将日常生活提到哲学高度。胡塞尔提出“生活世界”的概念，许茨、海德格尔、赫勒等也从各自的研究视野出发，发展和丰富了日常生活的思想。“日常生活”成为一个现代概念，则是从法国哲学家列斐伏尔开始，其关于日常生活批判理论，对后来关于日常生活研究都发生着积极的影响。 “日常生活审美化”的出现，则是在后现代语境下，与消费文化息息相关。英国社会学家迈克·费瑟斯通首次提出“the aestheticization of everyday life”，他认为，在后现代语境下，艺术与日常生活之间的界限被消解了，高雅文化与大众文化之间层次分明的差异消弥了，德国美学家沃尔夫冈·韦尔施也认为，当前我们正经历着一场美学的勃兴，他在《重构美学》里阐述了“浅层审美化”和“深层审美化”两种思想。随着经济全球化趋势的加剧，类似于西方后现代社会的生活场景在中国经济发达的一线城市也相继出现，消费社会的文化观念、生活方式从西方引进来。审美活动也已经超出所谓纯艺术/文学的范围，渗透到大众的日常生活中，城市广场、街心花园等社会空间与生活场也出现审美/艺术活动的身影。尽管目前中国社会还处在前现代、现代与后现代多元共生的格局中，日常生活审美化并不是整个中国社会的普遍现实，但伴随着消费文化的日益成熟和发展，我们不可否认，中国城市、特别是一线大城市正在经历着日常生活审美化这场深刻的生活变革。日常生活审美化与中国社会的转型相关，同样，新型文化媒介人也与中国社会的转型有着密切关系，他们拥有雄厚的文化资本，，是符号的生产者与消费者，并深谙市场操作规则，将艺术贯穿到日常生活中。新型文化媒介人是文化产业的经营型、管理型人才，在促进文化产业发展的同时，也推动了日常生活审美化在中国的进程。新型文化媒介人依靠自己本身的文化资本，并借助媒体等平台，在精英文化和大众文化之间搭起了一座沟通的桥梁，他们在消费社会中通过文化商品的策划、生产、传播，使审美与日常生活的界限日渐消解，他们是中国日常生活审美化的主体。虽然新型文化媒介人处于文化与市场之间的尴尬境地，但是他们认同知识分子的生活方式，保持对知识和艺术的追求，打破文化的藩篱，制造并传播着大众文化。我们不能否认他们“新型知识分子”的角色。此外，新型文化媒介人依旧保持着公共知识分子的批判与独立精神，并没有在市场经济中与公共领域渐行渐远，他们在推动日常生活审美化发展的同时，也带动公众参与到公共领域的构建中来。
[Abstract]:Before the 20 th century, daily life was almost unattended in the study of western philosophy. It was not until the 20 th century that German phenomenology really elevated daily life to philosophical heights. Husserl put forward the concept of "life world", and Schutz, Heidegger and Heller developed and enriched the thought of daily life from their respective perspectives. "Daily life" became a modern concept, which began with the French philosopher Lefefort, whose critical theory on daily life had a positive influence on the later studies of daily life. The appearance of "Aesthetics of Daily Life" is closely related to consumer culture in postmodern context. British sociologist Mike Featherstone first proposed "the aestheticization of everyday life". He believes that in the post-modern context, the boundary between art and everyday life has been removed, and the hierarchical difference between elegant culture and popular culture has been bridged. German aesthetician Wolfgang Welch also thinks that we are experiencing an aesthetic boom at present. He expounds the two ideas of "shallow aesthetic" and "deep aesthetic" in "Reconstruction Aesthetics". With the intensification of the trend of economic globalization, the life scene similar to the post-modern western society has appeared in China's economically developed first-tier cities one after another, and the cultural concept and lifestyle of the consumer society have been introduced from the West. Aesthetic activities have also gone beyond the scope of so-called pure art / literature, permeated into the daily life of the public, the city square, street garden and other social space and life field also appeared aesthetic / artistic activities. Although the Chinese society is still in the pre-modern, modern and post-modern multi-symbiosis pattern, the aesthetic of daily life is not the universal reality of the whole Chinese society, but with the increasingly mature and development of consumer culture, we can not deny that, Chinese cities, especially the first-tier cities, are experiencing a profound change in daily life. The aesthetic of daily life is related to the transformation of Chinese society. Similarly, the new type of cultural mediators are closely related to the transformation of Chinese society. They have strong cultural capital and are producers and consumers of symbols. And well-versed in the rules of market operation, the art runs through the daily life. The new type of cultural mediators are the managerial talents of the cultural industry, which not only promote the development of the cultural industry, but also promote the process of aestheticization of daily life in China. New cultural mediators rely on their own cultural capital and other platforms, such as the media, to build a bridge of communication between elite culture and popular culture. They plan, produce and spread cultural goods in the consumer society. They are the main body of Chinese daily life aesthetics. Although the new cultural mediators are in an awkward position between culture and the market, they agree with the way of life of intellectuals, maintain the pursuit of knowledge and art, break down cultural barriers, and create and spread popular culture. We cannot deny their role as "new intellectuals". In addition, the new cultural mediators still maintain the critical and independent spirit of the public intellectuals, and are not gradually separated from the public sphere in the market economy. While promoting the aesthetic development of their daily life, Also drive the public to participate in the construction of the public domain.
【学位授予单位】：中南民族大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：G124

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