喜剧美学的知识考古与时代精神

Archaeology of Knowledge and the Spirit of the Times for Comedy Aesthetics

伴随着大众文化的主流化发展,与之契合的"喜剧美学"正成为主导性审美原则,同时不可避免地出现了一些时代异化与精神偏差。从历史哲学视角看,相对于悲剧美学核心所在的悲悯的净化,喜剧美学重在智性的清透,而非纯粹的娱乐。大众文化的喜剧性应该是一种"内在伟大与严肃"、"外在有趣与可笑"的"轻盈诗学",是直面现实、迎接挑战的"举重若轻",是撕破生活假象的智慧与幽默,而非粉饰太平、逃避挑战、浑噩和谐的游艺与杂耍。如何达到对审美泛化的形而下之轻的规避,以及对喜剧美学的人性解放之重的自觉追求,是"文化中国"复兴过程中亟待应对的思想难题。

With the development of popular culture into the mainstream, the accompanying ＂comedy aesthetics＂ is becoming the dominant aesthetic principle, but it also inevitably leads to some time-specific alienation and spiritual bias. From the perspective of the historical philosophy, in contrast to the catharsis at the core of the tragedy aesthetics, the comedy aesthetics focuses on intellectual clarity, rather than sheer entertainment. The comedy elements of the popular culture should be a combination of ＂internal grandeur and seriousness＂ and ＂external funny and ridiculous form＂, or a ＂light Poet- ics＂. It should face the reality and meet the challenges with ＂ease in effort＂, and represent the wisdom and human that break the illusions of life, rather than merely providing entertaining, evading the challenge, or building a false harmony. How to evade the downplaying of aethetics due to its over-generalization, and how to achieve conscious pursuit of human emancipation with comedy aesthetics, these are some of the difficult ideological problems in the process of rejuvenating the ＂Chinese culture＂.