“中国式现代化与文艺学美学民族性、现代性”笔谈

Notes on"Chinese Modernization and the Ethnicity and Modernity of Literary and Artistic Theory and Aesthetics"

中国式现代化是一场正在深刻改变并将持续改变中国和世界的伟大历史实践,不仅关乎中华民族传统文明之延续与中华民族现代文明之缔造,也关乎中外文明的交流互鉴与人类文明新形态的创造,从而催生和形塑出具有中国和世界双重意义的文化使命。在如此这般情势下,不仅中国文艺和美学现象不断获得开拓和更新,而且文艺学美学也被重构和重塑,甚至相较传统文艺学美学而言毋宁说是一场革命——民族性革命和现代性革命。由此,“中国式现代化与文艺学美学民族性、现代性”作为时代主题和时代任务,就被历史地揭示并凸显出来——譬如,中国式现代化为中国文艺学美学奠定了什么样的历史根基,赋予了什么样的历史使命,中国文艺学美学又是如何在中国式现代化历史语境中施行现代转换和现代建构的,如此等等。探索这一主题,关乎中国文艺学美学之现代知识体系、话语体系建构和完善,也关乎马克思主义中国化之文艺学美学事业以及中国文艺学美学走向、参与和融入世界美学体系之事业等。围绕“中国式现代化与文艺学美学民族性、现代性”这一主题展开讨论,旨在突出中国式现代化赋予了文艺学美学以民族性和现代性之双重使命,以及带给它的深层挑战和革新等。王建疆教授围绕其所原创的建基于中国现代语境之上的别现代主义审美学展开论述,既总括了别现代主义审美学的来龙去脉,也深刻揭示了其与中国现代状况之基础性历史关联。刘阳教授以述学文体和论笔体为个案,论述了文论的民族性与现代性之异质性和创造性转化关联,并提出“民族文论的现代化”乃是一个始终不断获得异质和起点的命题。张兴成教授基于文明互鉴和融合视域而探讨现代性语境中中国文学思维和文化主体性价值问题,突出中国文学之文明意义以及文学之道与文明的内在一体性和主体性精神,进而力倡有中国特色之文学现代化道路。章文颖副教授立足话剧艺术与中国现代语境之互动状况,在中国式现代化理论视域下不仅论述了话剧艺术现代化演进状况,同时折射出中国文艺现代化演进状况。刘琴副编审由美学术语/概念翻译出发,以“审美观照”为例,透视了中国现代美学话语之交流互鉴与创造转化生成路径或机理。张震副教授则探讨中国式现代化与中国式审美现代性问题,指出中国式审美现代性理论话语建构乃当代中国美学之基本使命。刘阳军副教授以马克思主义中国化为切入点,宏阔地指出中国美学现代性、世界性课题乃中国式现代化必然要求和应有之义,并就其语境、议题、路径和意义等进行了初步勾勒。前述凡七篇笔谈,其理论视域和方法或偏重实践哲学,或偏重概念论/知识论,或偏重文化论/文明论等,围绕前述主题展开探究,提出了诸种富有学理性和启迪性意义的论断。

Chinese modernization is a great history-making practice that is deeply changing and will sustainably change China and the world,concerning the continuation of traditional Chinese civilization and the founding of modern Chinese civilization as well as the exchange and mutual learning between China and other countries and the creation of new formation of human civilization,thus giving birth to and shaping the cultural mission of dual meaning of China and the world.Under such circumstances the Chinese literature and art and aesthetics are being further explored and renewed,and their theory are being reconstructed and reshaped,which can be termed as a revolution as over traditional literary theory and aesthetics,displayed by its ethnicity and modernity.As such,"Chinese modernization and the ethnicity and modernity of literary and artistic theory and aesthetics",serving as a contemporary theme and task,are displayed and highlighted in a history-making sense.For instance,curiosities may exist as to what historic foundation Chinese modernization lays for Chinese literary and artistic theory and aesthetics,what historic mission it endows them with,and how they can be transformed and constructed in a modern way.The exploration of this them is much related to the construction and improvement of the modern knowledge system and discourse system for Chinese literary and artistic theory and aesthetics,the cause of literary and artistic theory under the conditions of Marxist sinicization,and the ways Chinese literary and artistic theory and aesthetics approach,participate in and integrate themselves into the global aesthetic system.The discussions centering on"Chinese modernization and the ethnicity and modernity of literary and artistic theory and aesthetics"aim at highlighting the dual mission of ethnicity and modernity endowed by Chinese modernization to literary and artistic theory and aesthetics as well as the relevant deep-level challenge and renew.Professor Wang Jianjiang,an aesthetician,conducts discussions over the"Bie-modernist aesthetics"based on modern China's context,summarizing the development of such advocacy and deeply revealing its fundamental historic relevance to China's modern situation.Professor Liu Yang,taking narrative style and argumentative essay style as cases,illustrates the heterogeneity of ethnicity and modernity of literary essays and the relevance to their creative transformation,and proposes that"the modernization of national literary essays"should be a proposition keeping receiving heterogeneity and starting-points.Professor Zhang Xingcheng,a famous scholar,explores the Chinese literature thinking and cultural subjective value in modern context based on the mutual learning and integration of civilizations,highlights the civilization significance and the inherent integrity and subjective spirit between literary way and civilization,and further advocates the path to Chinese literature modernization.Associate Professor Zhang Wenying,based on the interaction between stage drama art and modern China's context,illustrates the evolution of stage drama art modernization under the perspectives of Chinese modernization theory and shows the evolution of modernization of Chinese literature and art.Associate Compiler-in-Chief Liu Qin,setting off from the translation of aesthetics terms and concepts,showcases the mutual learning in communication and the creative transformation paths or mechanisms for modern Chinese aesthetics discourse.Associate Professor Zhang Zhen examines Chinese modernization and Chinese aesthetics modernity,pointing out that the discourse construction of Chinese aesthetics modernity is a fundamental mission of modern Chinese aesthetics.Associate Professor Liu Yangjun,starting from the sinicization of Marxism,stipulates at a macro-level and in an extensive sense that the going modern and global of Chinese aesthetics is a necessary demand and acknowledged obligation of Chinese modernization,presenting a tentative outline of relevant context,issues,paths and significance.The seven essays as mentioned above emphasize practice philosophy,concepts and knowledge,or culture and civilization in terms of theoretic visions and methods.The illustrations hence are academically systematic and practically implicative.