文化美学与中国情怀——论《在延安文艺座谈会上的讲话》的当代价值

发布时间：2018-01-26 02:34

本文关键词： 文化美学毛泽东延安文艺座谈会中国情怀　出处：《湖北民族学院学报(哲学社会科学版)》2015年06期 　论文类型：期刊论文

【摘要】：20世纪90年代文艺美学逐渐向文化美学范式转换,文化美学作为一种研究方法对延安时期的文艺工作有较强的文化阐释能力。考察毛泽东《在延安文艺座谈会上的讲话》中文化与工农兵大众审美主体的嵌入方式,解释当代文化美学的建构模式。可从主体论、方向论、价值论三个维度生成具有中国情怀的文化美学,具体而言,即基于人民主体作为当代文化美学的逻辑起点,坚持社会生活作为当代文化美学的功能指向,强调艺术符号作为当代文化美学的价值生成。
[Abstract]:In 1990s, the aesthetics of literature and art gradually changed to the paradigm of cultural aesthetics. As a research method, cultural aesthetics has a strong cultural interpretation ability to the literature and art work in Yan'an period. An investigation of the embedding way of Culture and the masses Aesthetic subject of Workers, Peasants and soldiers in Mao Zedong's speech at the Yan'an Literature and Art Symposium. . Explain the construction mode of contemporary cultural aesthetics. We can produce cultural aesthetics with Chinese feelings from three dimensions: subject theory, direction theory and value theory. That is, based on the people's subject as the logical starting point of contemporary cultural aesthetics, adhere to social life as the functional direction of contemporary cultural aesthetics, and emphasize the value generation of artistic symbols as contemporary cultural aesthetics.
【作者单位】：中山大学马克思主义学院;
【分类号】：I01
【正文快照】： 20世纪90年代以来,随着消费性大众文化成为当代人类共同面临的境遇,日常生活的审美风暴悄然兴起,其中,文化美学也逐渐成为学者关注的热点问题。文化美学,最早起源于席勒“审美文化学”[1]概念的提出,后来以法兰克福学派为代表的西方马克思主义者将审美文化定义为生活的审美化,

【相似文献】