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在西方文化精神史上,审美文化(asthetischenKultur/aesthetic culture)是一特殊概念。在其历史流变过程中,不同时期的不同思想家赋予其不同的内涵。在18世纪的德国,康德与席勒认为审美文化主要涉及文化教养与审美修养,人类借此可以实现更高的目的,即不断摆脱自身的动物性,逐步发展自身的人性和德性,进而走向精神的自由与独立。在19世纪的英国,斯宾塞认为审美文化是人类幸福的根本需要,对于实现教育的完整性和丰富社会人生具有重要意义。莫里斯认为审美文化效应有助于改善工人阶级的精神文化生活,提高他们的文化修养与鉴赏水平,缩短他们与中上层社会的差距。阿诺德认为审美文化有助于促进人类完善的境界,有助于克服附庸风雅、粗俗自满与无政府状态。佩特认为审美文化有助于推进人生的艺术化,有助于实现个体和谐存在与精神圆融的生活理想。在20世纪的西方,利维斯、马尔库塞、沃尔佩和阿多诺在新的意识形态和文化产业发展的条件下,分别从文学文化与批判理论的角度揭示了审美文化的追求目的、相关问题与表现方式。在当代语境下的中国,基于历史的视角来反思审美文化现象无疑具有一定的理论意义和现实意义。
In the history of Western cultural and spiritual culture, aesthetic culture is a special concept. In the process of historical change, different thinkers of different periods give different connotations. In Germany in the 18th century, Kant and Schiller think that aesthetic culture mainly involves cultural education and aesthetic accomplishment. Human beings can achieve a higher goal by continuously getting rid of their own animal character and gradually developing their own human nature and virtue, Spiritual freedom and independence. In 19th-century Britain, Spencer believed that aesthetic culture is the fundamental need of human happiness and is of great significance to the completeness of education and the enrichment of social life. Morris believes that aesthetic and cultural effects can help improve the spiritual and cultural life of the working class, enhance their cultural accomplishment and appreciation, and shorten their gap with the upper-middle class society. Arnold holds that aesthetic culture helps to promote the perfection of mankind and helps to overcome artwork, vulgar complacency and anarchy. Pett believes that aesthetic culture helps to promote the artistry of life and helps to achieve the ideal of living harmoniously and spiritually. In the 20th century, Levis, Marcuse, Volpe and Adorno reveal the purpose of the pursuit of aesthetic culture from the perspectives of literary culture and critical theory respectively under the conditions of the new ideological and cultural industries Related issues and ways of expression. In the context of contemporary China, it is undoubtedly of certain theoretical and practical significance to reflect on the phenomenon of aesthetic culture from the perspective of history.