荒诞:丑学的展开与审美价值生成  

Absurdity:the Introduction of Uglitics and the Formation of Aesthetic Value

作　　者：范玉刚[1] 

机构地区：[1]山东大学文学院,山东济南250100

出　　处：《陕西师范大学学报（哲学社会科学版）》2008年第1期55-61,共7页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

基　　金：国家社会科学基金项目(02BZW004)

摘　　要：荒诞的观念和显现形式古已有之,但荒诞感从日常生活中升华出来作为一种自觉的审美意识,是"二战"之后首先在西方文化语境中确立的现代性事件。作为美学的现代延伸,荒诞处于美学向丑学过渡的中介环节,或者说荒诞以悲、喜、丑的突破和杂糅形塑了新质的审美形态。它的出场拓宽了传统美学研究范畴,使始自鲍姆嘉通的"感性学"得以丰富,在感性学对美学纠偏和对丑学催生的框架中,其意义得以凸显,在后现代文化时空中仍播撒着荒诞的意味。The conception of absurdity presented itself evenin ancient times. But the sense of absurdity being promoted from ordinary life as a kind of self-conscious aesthetic sonse was a modern attempt first made in the context of western culture since the Second world War. As the modern extension of aesthetics, absurdity is in the mid-tache between aesthetics and uglitics. In other words, absurdity shapes a new aesthetic modality by breaching and combining sadness, happiness and ugliness. The emergence of absurdity expands the category of traditional aesthetics and enriches the Aestetica established by Baumgarten. In the framework of rectifying the aesthetics and midwiferying uglitics by the Aestetica, the absurdity shows its significance. And the aura of absurdity still spreads in the space-time of post-modern culture.

关 键 词：荒诞 审美价值 丑学 感性学 

分 类 号：B83-06[哲学宗教—美学]