跨文化语境中审美发生研究

发布时间：2018-06-30 17:07

本文选题：跨文化审美 + 心理距离　；参考：《山东大学》2009年硕士论文

【摘要】： 全球化的出现使得跨文化活动日益增多,跨文化审美现象成为一种重要的美学现象。日常经验中,艺术家利用艺术手法将熟悉的东西陌生化,而在跨文化审美活动中,艺术家面临的是大量异已的风物。顾彬将这种在跨文化活动中,主体用历史的日常经验去感知异己的事物时所体验到的差异性称之为“异”。跨文化交流中出现的审美现象,反映出人类多元文明形成、发展历史中民族文化心理的成熟、认知事物的开放和审美情趣的丰富、审美能力的提高。跨文化审美的实现可能突破话语霸权、意识形态宰制等,充分呈现出跨文化审美表征出的“异”在“差异”和“多元”中包含的美,启发人们去思考美产生于“非一”之中,从而促进人类文化自由、平等的交流、沟通。而在全球化这一背景下,坚持异质文化间的对话显得格外重要,跨文化审美也有了更多现实意义。以上是第一章的内容。当主体面对自我日常的、历史的经验所不熟悉的对象时,最初的感觉是“惊异”。这种惊异好奇之感比一般的日常经验更容易引起我们的审美兴趣,激起我们的创作欲望。然而在审美发生过程中,主体在面对这种容易引起我们审美兴趣、激起我们审美潜能的“异”时所产生的创作冲动是否都能最终转化为美感;关于美感的最终形成,跨文化审美活动与一般的审美活动对于主体和客体的要求有何不同?第二章《跨文化审美活动中的主体和客体》探讨了这一问题。论文首先探讨了跨文化审美活动中审美心理定势对审美主体的影响。审美心理定势所导致的创作与审美感知的心理惯性,使创作难以形成新的审美观念、审美价值。跨文化审美活动中,审美心理定势的的影响会更加突出。主体面对的审美对象越陌生,审美心理定势所遭遇到冲击越强烈。跨文化审美活动中,面对异己的对象,只有打破既有的审美心理定势,产生新的审美经验,才能调整、丰富原有的审美经验,达到审美超越,而审美超越的实现就需要作家主体不断扬弃而优化自身的审美心理结构。论文运用皮亚杰发生认识论中的顺应、同化原理分析了跨文化审美中如何优化审美心理结构。面对“异”,若同化机制一味起作用,主体就会将异己作为表现自我的工具,导致异域形象成为自身文化投射时的一种“他者”幻像,成为审美主体自我审视、自我反思、自我想象与自我书写的方式,最终指向文化“他者”的想象与意识形态空间。公元13世纪和19世纪的西方想象中国,都发生过这种情况。顺应若在认知结构中完全占主导,主体就可能一味沉溺于异己的新鲜奇异,失却自我意识,形成对异己的单纯模仿,无法调动主体既往的审美经验将客体纳入审美感知的范畴,也无法使主体顺应客体而建立起新的审美心理图式。洛蒂《北京最后的日子》就是异域风物的陌生化完全将主体的感知能力屏蔽掉的结果。顺应和同化间的失衡会导致跨文化审美活动中美感的丧失。只有将同化和顺应结合起来,使两者保持一种张力才能使创作主体达到一种审美超越,产生美感。如何在同化和顺应间保持一种有利于美感产生的张力在某种意义上就是主体面对差异性时的审美态度。法国作家谢阁兰对于中国古典文本《桃花源记》的改写表明主体对“差异美”的尊重、向往、探索使得主体打破审美心理定势,在顺应和同化间保持了张力,从而获得审美超越。论文随后探讨了跨文化审美活动中的创作动机对审美主体的影响。动机构成了文学创作与审美发生的启动状态。文学创作发生的表层动机是一种缺乏性动机,而跨文化审美活动的特殊性决定了这种缺乏性动机最为明显。但单一的缺乏性动机会造成美感的丧失,《曼德维尔游记》就是作家基于纯粹的缺乏性动机的满足而产生的迷恋和好奇,无法深入到中国艺术的内部去把握中国艺术的精神内核,无法与对象建立起审美联系。克服缺乏性动机所造成的美感丧失需要主体调动文学创作的深层动机即主体审美个性心理结构进行调节,其中最重要的是以主体间性调整、优化自己的审美心理结构,面对任何一种异己对象,作家展开的都是生命主体对另一个生命主体的对话、交流,都是以自己独异而丰富的心灵“对所呈现的形象倾吐原初词”。本章论文最后探讨了客体本身的审美潜能如何影响着跨文化审美活动的发生。跨文化审美活动中并不是异域的任何风物都能成为审美对象。有的异域风物虽然具有陌生于日常经验的生动鲜明的外在形象,但其内蕴的历史文化因素无法和主体达到某种共鸣;有的客体因其自身结构的缘故很难唤起主体对它进行整体性的把握,从而影响美感的产生。皮埃尔·洛蒂的《北京最后的日子》就反映出跨文化审美活动中对审美客体的选择直接关系到美感的获得。2008年诺贝尔文学奖得主克莱齐奥对异域文化的独特描写表明审美客体的自足性,即审美客体有其独立的价值和规律,构成了跨文化审美活动中客体审美潜能最关键的内容。跨文化审美活动中美感最终的获得还是要依赖于主客体间审美关系的建构。论文第三章集中探讨了这一问题。论文首先讨论了跨文化审美中如何建立一种自由的审美关系,认为不论是程抱一的宇宙三元论,还是谢阁兰的神秘主义美学原则,都是对一元和二元的超越,从更深广包容的视域看待“异”文化之间的交流,创造出“不同于”甚至“高于”“异文化”双方的新的审美生命,从而使审美关系跃入一个自由的新层面。论文接着讨论了跨文化语境中审美距离的调整。跨文化审美作为一种时空距离跨度极大的审美活动,必须将时空的距离内化为合适的心理距离。心理距离的内在矛盾是处理“有我”和“无我”的关系,而谢阁兰和博尔热的创作表明,审美主体对于“远望”与“近观”的平衡协调是跨文化审美中主客体间合适的距离把握。本章论文最后探讨了跨文化审美中文化心理结构的调整,审美主客间确实存在着文化心理结构这一中介。它对跨文化审美活动中审美关系确立产生重要影响。文学是对世界丰富的差异性的兼容,跨文化审美中文化心理结构的深化,不是以主体经验填补差异、达到同一,而是通过文学个性化的呈现,突出、强调这种“差异”及其沟通,获得异质的美感。毛姆、卡夫卡、博尔赫斯等创作就是用作家丰富的个性差异性“锐化”了“异”的差异性,从而使文学真正成为不同事物间的沟通。跨文化审美具有极大的实践性,文学的跨文化审美发生研究尤其不能只从理论出发,而要充分重视作家、文本的分析。前两章从跨文化审美对审美主、客体的要求和主客体关系的建构等方面展开探讨,所得出的结论不可能包容跨文化审美发生的丰富状态,所以第四章以中国文学研究中的一个个案——“跨文化审美视野中的香港文学”来进一步探讨跨文化审美发生的相关问题,也以此再次表明自己研究跨文化审美的思路。
[Abstract]:The emergence of globalization has made cross-cultural activities more and more, and cross-cultural aesthetic phenomenon has become an important aesthetic phenomenon. In daily experience, artists use artistic techniques to defamiliarize familiar things, while in cross-cultural aesthetic activities, artists are faced with a large number of exotic things. Gu Bin is the main body of the cross cultural activities. The difference between the experience of history and the perception of alien things is called "difference".
The aesthetic phenomena appearing in intercultural communication reflect the formation of human pluralistic civilization, the maturity of national cultural psychology in the development history, the openness of cognition, the enrichment of aesthetic taste, and the improvement of aesthetic ability. The realization of cross-cultural aesthetics may break through the hegemony of discourse and the form of consciousness, which fully presents the aesthetic characterization of cross culture. The beauty contained in "difference" and "diversity" inspires people to think about beauty born in "non one", thus promoting human cultural freedom, equal communication and communication. In the context of globalization, it is very important to adhere to the dialogue among different cultures, and the cross-cultural aesthetics also has more practical significance. The above is the first. The contents of the chapter.
The first feeling is "amazing" when the subject is not familiar with the experience of his own daily life and history. This feeling of wonder and curiosity is more likely to arouse our aesthetic interest than ordinary daily experience and arouse our desire for creation. However, in the process of aesthetic occurrence, the subject is prone to arouse our aesthetic interest in the face of this. Whether the creative impulse that arouses the "difference" of our aesthetic potential can eventually be transformed into aesthetic sense. What is the difference between the final formation of aesthetic feeling and the requirements of the aesthetic activities of cross culture and the general aesthetic activities on the subject and the object? The second chapter, the subject and object in the cross-cultural aesthetic activities, discussed this problem.
The thesis first discusses the influence of aesthetic psychological setting in intercultural aesthetic activities on the aesthetic subject. The psychological inertia of creation and aesthetic perception caused by the aesthetic psychological setting makes it difficult to form a new aesthetic concept and aesthetic value. In the cross-cultural aesthetic activities, the influence of the aesthetic psychology will be more prominent. The more strange the object of beauty is, the stronger the impact of the aesthetic psychological setting. In the cross cultural aesthetic activities, only by breaking the existing aesthetic psychological setting and producing new aesthetic experience, can we adjust, enrich the original aesthetic experience and reach the aesthetic transcendence, and the realization of the aesthetic transcendence needs to be abandoned by the writer. To optimize the aesthetic psychological structure of its own, the thesis uses the adaptation of Piaget's epistemology and the principle of assimilation to analyze how to optimize the aesthetic psychological structure in cross-cultural aesthetics. The illusion of "the other" becomes the way of self examination, self reflection, self imagination and self writing by the aesthetic subject, and finally points to the imagination and ideological space of the "other" in culture. This situation has occurred in the Western imagination of China in the 13th Century and 19th Century A.D., the subject is possible if the subject is completely dominant in the cognitive structure. To indulge in the strange strange and strange, lose self consciousness, form a simple imitation of the dissident, can not arouse the subject's previous aesthetic experience to bring the object into the category of aesthetic perception, but also can not make the subject conform to the object and set up a new aesthetic psychological schema. Loti < the last day of Beijing > is the strangeness of the exotic wind. The unbalance between adaptation and assimilation will lead to the loss of aesthetic feeling in cross-cultural aesthetic activities. Only by combining assimilation and adaptation to maintain a tension can the creative body achieve aesthetic transcendence and aesthetic feeling. The tension in a certain sense is the aesthetic attitude of the main body in the face of differences. The rewriting of the classical Chinese text, Xie Gelan, shows that the subject's respect for "difference beauty" is respected, longing for, exploring the subject to break the aesthetic psychological set, and maintaining the tension between adaptation and assimilation, thus gaining aesthetic transcendence.
The thesis then discusses the influence of creative motivation on aesthetic subject in cross-cultural aesthetic activities. Motivation constitutes the starting state of literary creation and aesthetic occurrence. The surface motivation of literary creation is a lack of motivation, while the particularity of cross-cultural aesthetic activities determines the most obvious lack of motivation. But a single lack of motivation. The sexual opportunity causes the loss of aesthetic feeling. "Mandelville's travels" is the infatuation and curiosity produced by the writer based on the satisfaction of pure lack of motivation. It can not go deep into the inner part of Chinese art to grasp the spiritual core of Chinese art, and can not establish an aesthetic connection with the object. The deep motive of literary creation is to adjust the psychological structure of the aesthetic personality of the main body, the most important of which is to optimize his aesthetic psychological structure by intersubjective adjustment. In the face of any kind of dissident object, the author unfolded the dialogue of the subject of life to another life subject, and the communication is rich in its own. The mind "gives the original word to the image presented."
This chapter finally discusses how the aesthetic potential of the object itself affects the occurrence of cross-cultural aesthetic activities. In cross cultural aesthetic activities, no wind in a foreign region can become an aesthetic object. Although some exotic objects have vivid and vivid external images that are strange to everyday experience, they have no historical and cultural factors. The law and the subject have reached a certain resonance; some objects are difficult to arouse the body's overall grasp of it because of its own structure, thus affecting the emergence of aesthetic feeling. Pierre Lodi's last days in Beijing reflect that the choice of aesthetic objects in the aesthetic activities of cross culture is directly related to aesthetic sense of.2008 Nobel. The unique description of the foreign culture by Clay Zio, the winner of the literary prize, shows the self-sufficiency of the aesthetic object, that is, the aesthetic object has its independent value and law, which constitutes the most important content of the aesthetic potential of the object in the cross-cultural aesthetic activities.
The final acquisition of aesthetic feeling in cross cultural aesthetic activities depends on the construction of the aesthetic relationship between the subject and the object. The third chapter of the thesis focuses on the problem. First, the thesis discusses how to establish a free aesthetic relationship in cross-cultural aesthetics, whether it is the three yuan theory of Cheng and the mystical aesthetics of Hsieh. The principle is to transcend one yuan and two yuan, to see the exchange between "different" cultures from a more extensive and inclusive view, to create a new aesthetic life of "different" and even "higher than" "different cultures", thus making the aesthetic relationship leap into a new level of freedom. Then the article discusses the adjustment of aesthetic distance in the cross-cultural context. As an aesthetic activity with space-time distance, the distance between time and space must be internalized as a suitable psychological distance. The inner contradiction of the psychological distance is to deal with the relationship between "I" and "no", while the creation of Hsieh and Borge shows that the aesthetic owners balance the balance between the "distance" and the "close view". This chapter discusses the adjustment of cultural psychological structure in cross-cultural aesthetics and the intermediary of cultural psychological structure in the aesthetic subject and guest. It has an important effect on the establishment of aesthetic relationship in intercultural aesthetic activities. Literature is a rich difference to the world. The deepening of the cultural psychological structure in cross-cultural aesthetics is not to fill the differences with the main experience, to achieve the same, but to show, highlight and emphasize this "difference" and its communication through the individualization of literature, and to get heterogeneous aesthetic feeling. Maugham, Kafka, Borges and other creation are "sharpened" with the writer's rich personality difference "sharpening" "different" The difference makes literature truly become a communication between different things.
The cross-cultural aesthetics is of great practicality, and the study of cross cultural aesthetics of literature is not only from the theory but in the analysis of the writer and the text. The first two chapters are discussed from the aspects of the aesthetic subject, the requirement of the object and the construction of the relationship between the subject and the object, and the conclusion of the first two chapters can not be contained in the cross cultural trial. The fourth chapter takes a case in the study of Chinese literature, "Hongkong literature in the cross-cultural aesthetic perspective", to further explore the related problems of cross-cultural aesthetics, and again to show the idea of studying cross-cultural aesthetics.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：I01

【参考文献】