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“审美泛化”已成为当代社会理论家把握现代化进程的一个重大命题,在中国相关讨论主要围绕“日常生活审美化”而展开。综观中西方在这一命题上的研究成果,究竟是什么力量在背后推动“审美泛化”的问题尚未被认真地提上议事日程。本文以“审美化”命题的主要阐发者韦尔施、波德利亚、费瑟斯通、波兹曼为研究案例,佐之以海德格尔等人的论述,指出在这些理论家中存在着一条或显或隐的思想主线,即将图像增殖作为审美化的推动力量。尽管这一思想并未彻底揭开“审美化”的谜底,但它已将我们引向商品与形象-美学的内在关联。一件商品不仅是实体性的,而且也具有并不必然归属于其实体的、飘离的形象。本文暗含了对资本主义之操纵、榨取美学或“资本主义美学”的揭露。
“Aesthetic Generalization ” has become a major proposition for contemporary social theorists to grasp the process of modernization. The relevant discussions in China mainly focus on the aestheticization of daily life. Looking at the research results of both China and the West on this proposition, what is the power behind the promotion of “aesthetic generalization” has not yet been seriously put on the agenda. In this paper, the author of the “aesthetic” proposition Verlsch, Baudrillard, Featherstone, Bozeman as a case study, accompanied by Heidegger and others, arguing that in these theorists There is a dominant line of thought or implicitness, that is, the proliferation of images as the driving force of the aesthetic. Although this idea does not completely reveal the answer to “aestheticization,” it has led us to the intrinsic connection between commodity and image-aesthetics. A commodity is not only physical, but also has the image of departure that does not necessarily belong to its entity. This article implies the revelation of the manipulation of capitalism, the extraction of aesthetics or the “capitalist aesthetics.”