民间文艺美学:客体,镜像到分享

Folk Art Aesthetics: Object,Mirror Image,Sharing

如何认识民间文艺的美学主体性,是传统民间文艺的美学研究面临的一个经典性理论问题。经典美学通常把传统民间文艺视为朴陋、未成熟和不自觉的前美学形态,实际上否定了传统民间文艺在美学意义上的主体性,因此也就否定了民间文艺美学研究在美学学科意义上的正当性。对传统民间文艺的研究从"民间文艺学"走向"民间文艺美学",意味着民间文艺从作为对象的"客体化"通过"镜像"反身自觉转向"主体化"的美学自觉。在全球化到后全球化的世界文化多样性冲突和"为承认而斗争"的主体间性背景下,这种主体化的实质是从主体自觉到主体间性文化分享理念的产生和发展。这种"分享美学"是传统民间文艺美学建设的创新理论内涵,也是当代非遗保护的文化前景。

How to understand the aesthetic subjectivity of folk art is a classic theoretical issue in the studies on the tra- ditional folk literature and art. The classical aesthetics often regards the traditional folk art as a simple, immature and un- conscious pre-development aesthetic form, which de facto denies the traditional folk art of subjectivity in the aesthetic sense, and therefore denies the folk art of legitimacy in the aesthetic disciplinary studies. The studies on traditional folk art has shifted from ＂folk literature and art＂ to ＂folk aesthetics＂, which means that folk art has turned to ＂subjective＂ aesthet- ic consciousness from the ＂objectivity＂ via the reflexive process of ＂mirror image＂. Against the backdrop of inter-subjectiv- ity featuring the conflict of cultural diversity and ＂struggling for recognition＂ during in the era of globalization and post-glo- balization, the essence of such subjectivity means the emergence and development of subjective consciousness and sharing concept of inter-subjectivity. This type of ＂sharing-based aesthetics＂ is the innovative theoretical connotation of the devel- opment of aesthetics of traditional folk art, and the foreground for the protection of intangible cultural heritage.