乡愁乌托邦与中国审美现代性——王杰教授访谈录

Nostalgic Utopia and Chinese Aesthetic Modernity——An Interview with Wang Jie

乡愁乌托邦这一概念的提出,主要基于对中国审美现代性和中国经验的考察与把握,同时也结合对中国悲剧美学精神的理解而形成。作为一种文化精神与实践,它一方面从过去探寻那些在资本主义生产方式中被破坏了的、但仍具有合理性的社会组织形式和机制;另一方面,它又能够在多重文化叠合的当代语境中酝酿属于未来的力量。乡愁乌托邦与红色乌托邦是中国审美现代性的两个关键内核,它们在中国社会现代化进程中几乎同时产生,二者互相叠合构成了一个双螺旋结构,蕴藉着巨大的、充满着内在张力的情感空间。乡愁乌托邦规定了审美现代性的“中国性”,红色乌托邦规定着中国审美现代性的社会主义目标,只有将这两者结合起来,中国审美现代性之路才能够基于中国独特的社会历史背景与当代语境通向未来。

the concept of"nostalgic Utopia 1s proposed on the basis of a survey of Chinese aesthetic modernity and Chinese experience as well as on the understanding of the spirit of the Chinese tragic aesthetics.As a kind of cultural spirit and practice,it tries to unravel the raison d'etre of the forms and mechanisms of the traditional social organization that have been destroyed by capitalist mode of production on the one hand,and to generate power for shaping the future in the contemporary context of overlapping and multiple cultures on the other."Nostalgic Utopia"and"red Utopia"are two cores of Chinese aesthetic modernity that have come into being almost simultaneously in the process of China's modernization.They overlap each other to form a double helix that contains a huge emotional space of great inner power.Nostalgic Utopia gives"Chineseness"to aesthetic modernity,while red Utopia gives Chinese aesthetic modernity a socialist goal.The combination of the two gives Chinese aesthetic modernity a path to the future by linking China's unique social and historical background with its contemporary context.