The Aesthetics Of Weather In Everyday Life

As an important and active academic field, everyday life is recently emphasized in aesthetics of literature and art. Especially, the studying of phenomena and discourse of weather is not only a new dimension but also a fresh reflection and reconstruction to the aesthetics. Modern western philosophy focuses mainly on the opposition between subject and object, while aesthetics of weather seeks for a different idea based on the close relationship between weather and human life. The following ideas are discussed:1) In accordance to the aestheticization of everyday life, an aesthetic paradigm of weather can be relatively built on the beauty of weather extracted from the nature, as well as its discourse in literature and art of human culture;2) The psychological mechanism of weather aesthetics is analyzed on the basis of the "sibship" between traditional Chinese aesthetics and one of weather, with the narrowed and differentiated meaning of traditional weather discourse in modern natural science;3) The construction and reproduction of weather discourse, together with its features of inclusiveness, openness and ecological holistic view, are explored in great detail from the perspective of ecological aesthetics;4) It is essential that living wisdom and humanistic spirit in weather culture are theorized for further development in abundant cultural era at present, and innovation of weather aesthetics in the perspective of everyday life could be beneficial to the diversification of modern aesthetics.This thesis is divided into five chapters. The first chapter is an introduction, which explains the significance of studying aesthetics of weather. Moreover, the relationship between the aestheticization of everyday life and weather aesthetics is mainly discussed. The second chapter focuses on the psychological mechanism of weather aesthetics, which is closely related to traditional Chinese aesthetics. The beauty of weather can be a special aesthetic paradigm distinguished from natural beauty. The third chapter takes on the construction and reproduction of weather discourse, analyzing some literary works with narrative theory of Roland Barthes’s. Two kinds of narrative mode are summarized—one is that weather possesses certain independent value in text; the other is that weather, as a catalytic value in narration, is metaphorized. The fourth chapter devotes to the ecological holistic view of weather in the perspective of culture. Living wisdom and humanistic spirit involved in weather culture should be further explored, so that the construction and innovation of it can be improved at present. I conclude with a chapter that bears a possible exceeding of modern aesthetics, that is, the aesthetics of weather may opens up a new field of experience, breaking the limit of order and object, and covering a broader perceived image.