超越美学意识形态:论布拉格学派的“背景”理论  

Beyond aesthetic ideology:On the “background” theory of the Prague School

作　　者：杨磊[1] 

机构地区：[1]昆明理工大学,昆明650050

出　　处：《云南大学学报（社会科学版）》2017年第5期86-92,共7页The Journal of Yunnan University:Social Sciences Edition

基　　金：教育部人文社科项目"布拉格学派美学理论重估研究"(项目号:16x Jc751007);云南省哲学社会科学规划项目"布拉格学派的文学实践论研究"(项目号:QN2016037)的阶段性研究成果

摘　　要："背景"在布拉格学派的美学研究中有着十分重要的地位。通过对背景的阐释,布拉格学派建立了以"前景化/背景"为核心的艺术作品结构,这个结构是二律背反的,即既是自律的,同时也是他律的。布拉格学派的美学理论也由此既是自律的,同时也是意识形态的。但借助把已经形成的审美价值结构化,布拉格学派成功地超越了美学意识形态,建立了一般的审美观念。对21世纪的"美学的复兴"而言,布拉格学派借助形式分析建立的一般的审美观念显然值得借鉴与反思。In the aesthetics studies of the Prague School, “ background” has important significance. By interpreting it, thePrague School has constructed the structure of art work of “foregrounding/background”. The structure is it is not only autonomic, but also heteronomous. At same time,the aesthetic theory the Prague School is both autonomic andideological. But,through restructuring the established aesthetic values,the Prague School has transcended aesthetic ideologysuccessfully,and constructed the general aesthetic conception. “The revival of aesthetics” in the 21st century would benefitmuch from the reflections on the general aesthetic conception based on the formalist analysis of the Prague School.

关 键 词：布拉格学派 背景 美学意识形态 结构化审美 审美教养 美学的复兴 

分 类 号：B83-06[哲学宗教—美学]