The Twentieth Century, Political Aesthetics And Literary Aesthetics

The Concept "political aesthetics" put forward in this paper holds that politics in itself is an aesthetic presentation, and that aesthetic spirit is reflected in political ideology, political system and political policies, power operation, etc. Power will always turn out to be a charm and power structure will definitely enter emotional structure, which necessitates an aesthetical look at the politics itself. The reason that the paper makes a study of literary aesthetics from the view of political aesthetics is that political aesthetics is a key to literary aesthetics.The paper makes a macro scanning of political aesthetics and literary aesthetics in the 20Ih century China. It offers both vertical and horizontal aesthetical observation of both the political and literature reform. Chapter One deals with the aesthetic secretsinside the ideology____an aesthetic look into the Marxist ideology's entry intoChina's history early in the 20th century. Then it deals with those verge literaryaesthetics afloat apart from the mainstream ideology____a series study of those fromWang Guowei to Cheng Yingge. A particular attention goes to the relationship between the transition in Wang Guowei's literary aesthetic idea and Cheng Yingge's thoughts in his later years of life. It argues that an inherent identification is seen between Wang Guowei's former and later thoughts, i.e. a transition from "poetry" to "history", which has acquired a broad cultural perspective and political implication for his aesthetic idea, and that in his later years, Cheng Yingge's shift from "history" to "poetry" is a logical development of his aesthetic thinking.Chapter Two approaches the relationship between the dominating "struggle philosophy" and the ascetical politics after the founding of New China, and exposes the aesthetic techniques embodied within; then it looks further into the relationship between the establishment of political power order during "Great Cultural Revolution" and the traditional Chinese "Ceremony system " and "Music system" Culture, holding that various practices of internalizing the hierarchical order of "Ceremony " and "Music " Culture into emotional sides is a primary feature of political aesthetics during "Great Cultural Revolution". It elicits a further study of how "Revolution Discourse" got constructed in the literary aesthetics and an analysis of literarily aesthetic characteristics of China's, mainstream culture.Chapter Three is a politically aesthetic analysis of how power has developed into charm,. A special attention is given to the relation between "open conspiracy" and "hidden conspiracy" in the politics from the view of visual culture, and their aesthetic source. And correspondingly, it makes a study of the thoughts of Luxun and Guzhuen, representatives of literary aesthetics in reflective political Utopia. It observes that Luxun takes an everlasting view of doubt over all kinds of hopes and ideals, which serves as his literary aesthetical basis while Guzhuuen, following the theme "What about Nala's fate after her abandonment of family", did his own contemplation over literature in incredibly difficult situation, and dismantled the philosophical mainstayof idealism, and presented a denying spirit shared with Lu Xun's aesthetics.The last chapter gives an analysis of the tough transition of political aesthetics since the "New Period" and puts forward a -desire-dominated aesthetic concept, pointing a new way for aesthetic development by "going back to things proper", an "open metaphysics".The conclusion is a summary of the author's chief reflections over the above-discussed studies.