壮族民歌艺术的审美困境与现代性转场的路径选择  

The Aesthetic Dilemma of Zhuang Folk Songs and the Path of Modernity Transition

作　　者：陈铭彬 CHEN Ming-bin(Guangxi University for Nationalities,Nanning 530006,China)

机构地区：[1]中国社会科学院马克思主义学院 [2]广西民族大学

出　　处：《广西民族大学学报（哲学社会科学版）》2018年第5期90-95,共6页JOURNAL OF GUANGXI MINZU UNIVERSITY:PHILOSOPHY AND SOCIAL SCIENCE EDITION

基　　金：2017年广西哲学社会科学规划研究课题一般项目"审美视域下广西壮族民歌现代性转场研究"(项目编号:17BZW003)

摘　　要：壮族民歌艺术具有"天人合一"的自然审美、"以歌会友"的人际关系审美以及浪漫豁达的历史记忆审美等特性。壮族民歌艺术从传统走向现代的过程中存在着虚拟与向现实的交错、众乐与独乐的取舍、自由与形式的竞争、单一审美主体与多元审美主体的碰撞等审美困境。壮族民歌艺术审美研究从场外理论向场内理论转场是实现其审美话语的必然需要,与从"工具场"转向"阐释场"、从"原生场"走向"衍生场"一样,是审美现代性转场的路径实践。壮族民歌艺术现代性审美是壮族民歌艺术实现其特殊性话语权的重要表现,传统民歌艺术审美的现代性转场的实现,影响着壮族民歌艺术的传承与发展。Zhuang folk songs are characterized by the natural aesthetics of nature-human integration,the interpersonal aesthetics of"making friends via songs"and the historical and memory aesthetics of romantic open-mindedness.In the process of its going from tradition to modernity,Zhuang folk songs are confronted with aesthetics dilemma such as the intertwining of virtuality and reality,the choice between pleasing the mass or oneself,the competition between freedom and form,the collision of a single aesthetic subject and the multiple aesthetic subjects,etc.It is an inevitable need for the aesthetic study of Zhuang folk songs to transit from outsider theory to insider theory to realize its aesthetic discourse.The same as changing from"tool field"to"interpretation field"and from"native field"to"derivative field",it is the path practice of modernity transition.The modern aesthetics of Zhuang folk songs serves as an important manifestation of the art of Zhuang folk song in realizing its special discourse power.The realization of the modernity transition of the art aesthetics of traditional folk song has impacted the inheritance and development of the art of Zhuang folk song.

关 键 词：壮族民歌 审美困境 现代性审美 

分 类 号：B83-02[哲学宗教—美学]