后现代主义文学的崇高内涵及其审美特征  

Aesthetics of the Sublime and Its Connotations and Properties in Postmodern Literature

作　　者：陈启[1,2] 胡全生[1] 

机构地区：[1]上海交通大学英语系 [2]华东师范大学外语学院

出　　处：《文艺理论研究》2016年第4期94-102,共9页Theoretical Studies in Literature and Art

基　　金：国家社科基金重大项目“战后世界进程与外国文学进程研究”[项目编号:11&ZD137]阶段性成果

摘　　要：本文分析了康德对美的美学和崇高的美学的划分,阐释了利奥塔的后现代主义美学为崇高美学的观点,指出后现代主义文学的崇高内涵和审美特征主要存于六个方面:高歌反抗的艺术,只求怎么讲不问讲什么,尊奉不确定性为第一美学原则,"差异万岁",在极端和折中当中获取陌生,在调整期待中获取愉悦。本文认为,以传统的或毕达哥拉斯学派的美学而论,后现代主义文学显然无美可言,因为它"不知道如何谈论自己的美"。This paper explores Kant＇s classification of aesthetics as the beautiful and the sublime, and with an interpretation of Lyotard＇s proposition that postmodern aesthetics is the aesthetics of the sublime, it suggests that postmodern sublimity lies mainly in viewing postmodern literature as an art for protest, highlighting how to tell a story instead of what a story is, and regarding the indeterminacy as the primary aesthetic principle as in the slogan of ＂Vive la difference,＂ and it then achieves strangeness through radical experiment and eclecticism, and derives pleasure by adjusting expectations. The paper argues that postmodern literature, if judged by traditional or Pythagorean aesthetics, shows no beauty as it knows not how to talk about its beauties.

关 键 词：美 崇高美学 审美特征 后现代主义文学 不可表现 

分 类 号：I01[文学—文学理论]