论怪诞的感性学特征

On the Aesthetic Characteristics of Grotesque

20世纪中叶以来,怪诞逐渐凸显为西方文艺美学研究的核心范畴,对其内涵的界定和阐发已然成为考量当代文艺文化的必要尺度。怪诞溢出了"美的艺术"的传统美学边界而表现出丰富的感性学特征,即可笑可怕性、经验可感性、异质杂合性等三个层面及三者之间的混杂缠绕。可笑可怕性指主体对怪诞审美对象的混杂感受;经验可感性从主客互动层面呈现怪诞审美经验的基本要素;异质杂合性则从怪诞艺术内部构成原则出发,指出其独特的感性学内涵,即媒介、元素、形式、主题与身份的异质混杂性。怪诞对于上述三个层面的共同诉求,开启了一个新颖的审美领域和广阔的阐释空间。

Since 1950,Grotesque has been highlighted as a core category in western aesthetics and literary research,and some scholars believe it is a necessary dimension to study contemporary literatures and arts by defining and interpreting the term.Grotesque overflows the traditional definition of the Aesthetics that refers to fine art since Hegel,and appears three levels：ludicrousness and fearfulness,sensibility,and hybridity.The first level emphases the feelings mixed with both ＂being ridiculous and terrible.＂The second,from mutually constructing point of view,analyzes four significant factors influencing the sensibility of grotesque works.The last one,based on the inner structure of grotesque literary works,concentrating on hybridity of grotesque itself,including media,elements,forms,themes,and identities,determines the unique characteristics of grotesque.It is because the three levels describe the above that may well open up a new realm of aesthetics and broad hermeneutic space in literatures and arts.