A Study Of Chinese Aestheticism In The 20～(th) Century

The focus of this dissertation is not a detailed description of the development of aestheticism in China, but the different sides of Chinese aestheticism in the 20th Century. Because Chinese aestheticism is different in the different periods, the total arrangement focuses on the questions appeared in the different periods. Specifically, chapter one is a summary of Chinese and western academic circles' different use of aestheticism in order to establish its basic connotation. Chapter two focuses on the difference of ancient and modern Chinese aestheticism. Chapter three focuses on the theoretical formation of modern Chinese aestheticism. Chapter four focuses on the political features of aestheticism. Chapter five focuses on the discourse formation of aestheticism. Chapter six focuses on the difference and association of aestheticism with cultural conservatism, romanticism and scientism.The main viewpoints of this dissertation as follows:1. The 20th Century is the most important period in the development of the modernity of the Chinese literature, and aestheticism is an important angle of viewing this development. The rise of modern Chinese aestheticism is associated with western aestheticism, but Chinese aestheticism has its own characteristics.2. Confucianism, Taoism and Zen Buddhism have different approaching aesthetic existence, but I don't think modern Chinese aestheticism stems from ancient Chinese aestheticism. Because ancient Chinese aestheticism tries to seek refuge from beauty, sealing vigorous life with ivory tower to forget the pressure from reality and indulge in self-admiration. When confronting complex life, ancient Chinese aestheticism took a withdrawal posture. Only from the establishment of modern remuneration, literary institution and public sphere can we explore the original context of modern Chinese aestheticism.3. The theoretical formation of modern Chinese aestheticism is varied, but the aesthetical independence and redemption is the most important which concentrated from the 1920's to the 1940's. The idea of aesthetical independence shouldn't explore in Wang Guo-wei's aestheticism, but in the ideas of Creative Mass Organizations and School of Symbolism. When expounding aesthetical redemption, I don't follow the social critical theory, but focus on the aesthetical ideas of Zhu Guang-qian and Zong Bai-hua, because their ideological essence and limitation is the representation of Chinese aestheticism.4. Following the trend of modern Chinese aestheticism, we find aesthetic is not a individual case, so it is difficult to explore the crux of aestheticism within aesthetics. In view of the specific situation from the 1950's to the 1970's, which is a political environment blocking the development of literature and arts. In view of the course of modernity, from the 1950's to the 1970's is a typical transition. Exploring the Great Leap Forward of literature and arts and interpreting Cultural Revolution literature as political aestheticism, we can find not only the exceeding expression of making use of aestheticism to solve political problems, but also the political characteristics of modern Chinese aestheticism.5. The direct consequence is aestheticism discourse prevailed for a time. It's the same the other way round. The basic characteristic of aestheticism discourse as follows: the first is the aesthetical inclination in the realm of literary theory; the second is poetic discourse became a sign of literary theoretical discourse. The 1980's is a time of aestheticism prevalence, but from the 1990's, because of linguistics turn, academic standardization, new rational spirit and cultural studies, aestheticism discourse is slowly waning.