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Survival In The Perspective Of The Aesthetic Transcendence Research,

Posted on:2013-01-17Degree:DoctorType:Dissertation
Country:ChinaCandidate:B YangFull Text:PDF
GTID:1115330371974803Subject:Literature and art
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Aesthetic transcendence is deeply rooted in human existence and transcendence and, therefore, an endless, timeless topic. Chinese and Western philosophies have no lack of wisdom thinking in this respect, and modern existential dilemma also encourages people to re-examine the issue of aesthetic transcendence. Aesthetic transcendence is an immanent transcendence and secular poetic transcendence; it is the pursuit of ideal personality and realm of life and brings humans back to the essence of life, so that there can be a clarity of "being" and "poetic dwelling" can be manifested. This thesis is to explore from the perspective of human existence the basis of aesthetic transcendence; it examines the ultimate objective, the dimensions and phases, and the psychological mechanism of aesthetic transcendence and finally returns to the current reality with an analysis of the reality situation of aesthetic transcendence in the background of Aestheticization. Through a thorough examination of aesthetic transcendence, this paper is intended to clarify the point that the transcendent spirit is an inherent dimension of aesthetics which is deeply rooted in human existence and transcendence and therefore should not be abandoned.This paper includes the introduction, the main part and conclusion. The main part is divided into six chapters.The "Introduction" section examines the research background on the subject. It begins with an analysis of the current status of spiritual loss; then made a brief review of research on aesthetic transcendence in the new era of China. Based on this, the paper then proceeds to a discrimination between aesthetic transcendence and other forms of transcendence such as philosophical transcendence and religious transcendence, hence to clarify the unique content and value orientation of aesthetic transcendence. Finally is an account of the contents of each chapter.Chapterâ… "From the entity theory to existentialism:the spirit of aesthetic transcendence in Western Aesthetics" examines the evolution of Western philosophy from Plato to Heidegger's concept of aesthetic transcendence, and on this basis, attempts to clarify the point that aesthetic transcendence should be based on existentialism instead of an entity theory; it is derived from human existence, and ultimately settled for the "disclosure of existence" and "poetic dwelling".Chapterâ…¡"from 'Art as a manifestation of Tao' to'Jihngjieh':the spirit of aesthetic transcendence in traditional Chinese culture" examines the evolution of aesthetic transcendence in traditional Chinese culture from the early Qin Dynasty to the Tang and Song Dynasties. The aesthetic transcendent thoughts in ancient Chinese culture has gone through the evolution from the Qin Dynasty's "Art as a Manifestation of Tao ", to the "Nothingness" of Wei and Jin Dynasties, to Tang and Song Dynasties' "Miao Wu", eventually settled for "Jihngjieh". "Jihngjieh" as a non-entity existential theory is comparable to Heidegger's "poetic dwelling" so that a perfect intersection of Chinese and Western aesthetics on the issue of aesthetic transcendence might be achieved.Chapterâ…¢"Aesthetic Transcendence and Freedom" examines the ultimate objective and dimensions of aesthetic transcendence. The ultimate goal of aesthetic transcendence is to enhance the individual's realm of life and realize the individual's freedom. Such freedom is not freedom on the epistemological sense, but freedom on the existential and ontological sense. Its implementation includes the following three dimensions:First, aesthetic transcendence of the everyday life. Aesthetics is based on the daily life of the world, but transcends the mediocrity, rigidness and pettiness of the daily life, and through the "defamiliarization" of everyday experience and the "interruption" of everyday consciousness brings human back to the essence of existence and "poetic dwelling". Second, aesthetic transcendence of sensuality and rationality. Aesthetic freedom as a disinterested pleasure, is neither attached to sensual pleasure, nor subjective to rational force, and thus realizes the transcendence of both sensuality and rationality. Third, aesthetic transcendence of dualism. Aesthetic activity is not based on the subject--object dualism, but on the harmony between Man and the World. Aesthetic subject immerses himself in a "forgetting myself" state of mind, transcends the subject--object barriers and enters a new realm which features the fusion of Man and World and through this process, eventually fulfils the meaning of individual life and spirit of individual freedom.The fourth chapter examines the phases of aesthetic transcendence. Aesthetic transcendence is reached in the dialectical unity of corresponding phases. This unity includes four basic forms:First, the unity of the reality and the ideal; aesthetic transcendence is grounded in reality but entails a vision of the ideal. Second, the unity of finitude and infinity; aesthetic transcendence is the pursuit of the infinite within the realm of finite being. Third, the unity of individual and the society; aesthetic activity is based on individual experience but goes beyond individual consciousness and conveys the concern of the entire state of human existence. Aesthetic individuality is not detached from society, but includes social and historical characteristics. Last, the unity of physical and metaphysical; aesthetic transcendence is the pursuit of the ultimate meanings and values within the physical experience of human existence.Chapter V "Aesthetic transcendence and aesthetic experience" examines the psychological mechanism of aesthetic transcendence. Aesthetic transcendence is an inner transcendence and self-transcendence; it is not based on some outside entity, but on the subject's aesthetic experience. It relies on the participation and interaction of a variety of psychological factors such as aesthetic perception, aesthetic emotion and aesthetic imagination. In this domain of relationship, the aesthetic perception is the starting point and prerequisite for aesthetic transcendence; aesthetic emotion is the engine and power of aesthetic transcendence; aesthetic imagination is the wings. It is in the participation and interaction of perception, emotion, and imagination that aesthetic experience occurs naturally, while the aesthetic subject from the psychological perspective fulfils aesthetic transcendence.Chapter VI "Prospect of aesthetic transcendence in the era of Aestheticization" placed aesthetic transcendence in the contemporary context of popular culture and the aestheticization of everyday life, and examines the dilemma and outlook of aesthetic transcendence in modern times. In the context of post-modern and popular culture, art and aesthetics have lost its past glory, and been reduced to momentary sensual pleasure and immediate consumption. However, we believe that the true aesthetic must have its inherent transcendent value. By reiterating the transcendent dimension of aesthetics, we can save the contemporary aesthetic culture from a tendency to be materialized and abused. In the era of Aestheticization. it is important to uphold the spirit of criticism, and reconstruct the dimension of aesthetic transcendence.
Keywords/Search Tags:Aesthetic transcendence, Existentialism, Inner transcendence, Enhanced realm of life, Individual freedom, Aesthetic experience
PDF Full Text Request
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