论审美现代性的三重张力

发布时间：2018-07-30 08:08

【摘要】：晚近国内学界关于现代性的讨论很是热烈。一方面,不少现代性的研究文献被译介过来,颇有启发;另一方面,透过现代性的视角来重新审视诸多社会文化问题,在不少方面多有推进。现代性作为一个核心概念,为我们思考社会文化的变迁提供了一个独特的角度,它就像一个宏大的历史叙事,不可避免地触及到诸多迫切而又复杂的问题。按照霍尔的说法,现代性是一个多重建构的历史过程,它至少包含了四个重要的层面:政治现代性、经济现代性、社会现代性和文化现代性。但在霍尔的现代性结构中,文化现代性只限于世俗文化、现代知识和认同等问题,艺术作为一个重要的维度显然被忽略了。这里集中刊出的三篇论文,从不同角度涉及到文化现代性问题,尤其是审美现代性。从现代性的发展历程来看,审美作为一个重要层面具有非常重要的功能,缺少这一维度,我们对现代性的理解将是片面的。法国学者瓦岱说过,现代性就像拼图游戏或者迷宫一样,是一个很容易让人迷失方向的历史空间。这个历史空间遭遇了许多造访者,人们在其中寻找特定方向,拼出他们所看到的现代性“历史空间”。这里刊出的三篇文章,也可以看作是三张“拼图”,从三个不同角度来审视审美现代性问题。《审美现代性的三重张力》,从卡林内斯库的一个论断入手,解析了审美现代性所包含的复杂三重张力,那就是审美现代性与传统之间的紧张关系,审美现代性与启蒙现代性之间的对立,以及审美现代性自身的矛盾。这三重张力构成了审美现代性自身的进程和面貌。第一重张力揭示了从传统向现代的深刻变迁;第二重张力揭示了现代性本身复杂性,它蕴含了多重社会、文化的指向;第三重张力则是彰显出审美现代性内在的矛盾。透过这三个角度,可以说相当程度上展示了审美现代性的辩证逻辑。《现代性视野中的艺术体制与艺术家》一文,则从一个特殊的角度,以及现代性所导致的现代艺术体制,来考察艺术活动的主体——艺术家。康德以来的哲学美学常常强调艺术家的天才、个性和主体性,但是如果从现代社会理论角度来审视,就会发现任何天才艺术家其实都是现代艺术体制中的一个元素,要受到艺术体制的制约。游离于体制之外并依赖于个人天才而获得成功的艺术家不过是一个神话。文章特别强调,随着现代性的发展,艺术家在现代艺术体制中也有不同的角色和功能。《返归生活的先锋派》一文,探讨了审美现代性的一个难题,那就是在现代主义艺术强调自主性的主潮之外,先锋派作为一个独特的文化现象,具有反其道而行之地强调艺术返归生活的文化冲动。透过这一冲动,我们可以把握到审美现代性的内在矛盾。先锋派艺术与现代主义艺术之间的不同文化指向,可以说是从另一个角度解说了第一篇文章所讨论的审美现代性的自身矛盾张力。
[Abstract]:In recent years, the discussion of modernity in domestic academic circles is very heated. On the one hand, many modern research documents have been translated and introduced, quite enlightening; on the other hand, through the perspective of modernity to re-examine a number of social and cultural issues, in many ways have been promoted. Modernity, as a core concept, provides a unique angle for us to think about the change of social culture. It is like a grand historical narrative and inevitably touches upon many urgent and complex problems. According to Hall, modernity is a multi-constructive historical process, which contains at least four important aspects: political modernity, economic modernity, social modernity and cultural modernity. However, in Hall's modern structure, cultural modernity is limited to secular culture, modern knowledge and identity, and art as an important dimension has obviously been neglected. The three papers published here involve cultural modernity from different angles, especially aesthetic modernity. From the perspective of the development of modernity, aesthetics as an important level has a very important function, without this dimension, our understanding of modernity will be one-sided. The French scholar Vardine has said that modernity is a disoriented historical space like a puzzle game or a maze. This historical space has encountered many visitors, in which people seek specific directions and spell out what they see as "historical space" of modernity. The three articles published here can also be regarded as three "puzzles" to examine the issue of aesthetic modernity from three different angles. This paper analyzes the complex triple tension of aesthetic modernity, that is, the tense relationship between aesthetic modernity and tradition, the opposition between aesthetic modernity and enlightenment modernity, and the contradiction of aesthetic modernity itself. This triple tension constitutes the process and appearance of aesthetic modernity itself. The first tension reveals the profound change from tradition to modern, the second tension reveals the complexity of modernity itself, it contains multiple social and cultural directions, and the third tension reveals the inherent contradiction of aesthetic modernity. Through these three angles, it can be said that the dialectical logic of aesthetic modernity can be shown to a certain extent. The article "Art system and artists in the View of modernity", from a special angle, and the modern art system caused by modernity, To examine the main body of artistic activities-artists. Since Kant's philosophical aesthetics, the artist's genius, personality and subjectivity are often emphasized. However, if viewed from the perspective of modern social theory, it will be found that any talented artist is in fact an element of the modern art system. Must be restricted by the art system. Artists who are out of the system and who rely on personal genius to succeed are but a myth. The article especially emphasizes that with the development of modernity, artists also have different roles and functions in the modern art system. That is, in addition to the main trend of modernist art emphasizing autonomy, the avant-garde, as a unique cultural phenomenon, has the cultural impulse to emphasize the return of art to life in the opposite direction. Through this impulse, we can grasp the inherent contradiction of aesthetic modernity. The different cultural orientation between avant-garde art and modernist art can be said to explain the contradictory tension of aesthetic modernity discussed in the first article from another angle.
【作者单位】：南京大学中文系
【分类号】：B83-0

【相似文献】