“十七年”电影研究中崇高审美话语建构的三个来源  

Three Sources of Constructing Sublime Aesthetic Discourse in the Research of“Seventeen-Year”Cinema

作　　者：任华东 刘凡 REN Huadong;LIU Fan(Shanghai Film Academy,Shanghai University,Shanghai 200072,China)

机构地区：[1]上海大学上海电影学院,上海200072

出　　处：《上海大学学报(社会科学版)》2025年第2期33-45,共13页Journal of Shanghai University(Social Sciences Edition)

基　　金：国家社会科学基金艺术学重大项目(2020ZDA031)。

摘　　要：崇高是当代学界有关“十七年”电影研究的核心审美话语之一,它的语义生成及其话语实践,与以下三个来源密切相关:西方崇高理论的舶来及其与中国既有的崇高话语、重伦理道德的文化传统的碰撞与化合;意识形态对电影艺术独特性及其重要性的认知与明确诉求;工农兵“泛英雄化影像”的审美塑造。中国学界一方面继承了康德等西方崇高理论与中国传统乐感文化赋予崇高的道德超越—快感之维,另一方面又极大弱化了其审美形式—痛感之维,让崇高范畴的语义走向一种愉悦有余而痛感不足的单维度语义状态,从而与西方美学中具有双维异质—转化性特点的崇高范畴产生了重要分野。The sublime stands as one of the core aesthetic discourses in contemporary academic research on“Seventeen-Year Cinema”(1949-1966).The semantic generation and discursive practice of the sublime in this context derive from three primary sources:first,the introduction and integration of Western sublime theories with China’s existing sublime discourse and cultural traditions that emphasize ethics and morality;second,the ideological recognition and explicit pursuit of film art’s uniqueness and significance;third,the aesthetic shaping of“generalized heroic imagery”centered on workers,peasants,and soldiers.While Chinese academia inherited the“moral transcendence-pleasure dimension”from both Western theories of the sublime(notably Kant’s)and traditional Chinese aesthetic culture,it significantly diminished the“aesthetic form-pain dimension.”This trend resulted in a“one-dimensional semantic state”marked by an“excess of pleasure”and an“insufficiency of pain,”thereby establishing a significant divergence from the Western conception of the sublime,which is characterized by“dual-dimensional heterogeneity and transformation.”

关 键 词：“十七年”电影 崇高 审美话语 意识形态诉求 工农兵影像 

分 类 号：J901[艺术—电影电视艺术]