美学现代性遭遇朱光潜

发布时间：2018-03-07 13:50

  本文选题：美学　切入点：现代性　出处：《上海外国语大学》2004年硕士论文　论文类型：学位论文

【摘要】：“思与诗的对立”由来已久。在西方，它肇始于古代哲学僭主——柏拉图。这个古老命题从来不曾有被终极解决的那一天，因为组成命题的两个要素自诞生就处于“变动不居”的状态：“思”与“诗”的对立也衍生了一道动人的风景——作为链接“思”与“诗”的“美学”，只因它的存在，于轰轰烈烈中沉浮了多少美学家、艺术家和可爱的观众，还有艺术品。阿多诺对美学的“羞辱”——一种“反思‘反思’”的态度，可能会伤害到众多美学业余爱好者的心： “没有任何一门其他哲学学科，像美学学科那样如此脆弱地倚赖于诸先决条件。美学犹如风标似的，被每一阵哲学风、文学风以及科学风吹得摇摆不定。人们一会儿从形而上和规范的角度考察美学，一会儿又以经验的和描述的方式探讨美学。一会儿从艺术家的观点出发来思索美学，一会儿又从消费者的观点出发来对待美学。”(《美学原理》阿多诺著 王柯平译 四川人民出版社 1998年版 第558页) 这是一篇美学业余爱好者的文章。本文拟采用比较文学的跨学科研究、影响研究和平行比较等方法，以中国现代美学家——朱光潜及其美学体系为论述载体和研究个案，来考察美学遭遇现代性变革之际的生存状态问题，论证同时代的美学与艺术之间存在相互的排斥力，这是我们思考美学现代性需要沥清的一个理论前提。 第一章：“审美意识历史观通论”，从历史观的角度阐述了人类在劳动中获取审美意识和审美能力；而且，人类艺术在哲学意义上也历经了一个各种形态流变的过程。将艺术放置在哲学背景下，，既是我们讨论的起始点，也是“美学现代性”问题孵化而出的根本动因。 第二章：“美学的‘现代性’思考”，本章首先提出美学的哲学地位和艺术的历史命运问题，论述了现代艺术家正在力图与传统美学决裂，因为美学落后于艺术自身的发展导致了两者之间极大的“不相容性”；同时 指出艺术不可能依然如故，但它也不可能隐身退出历史舞台，艺术发展 是一个不断自我解放的过程。我们试图论证这样一个观点:·美学仍然不 可能弃艺术而他顾，反之，艺术还不曾达到矜诞无当的程度，要剔别美 学的理论关怀;因此美学一边要摆脱陈旧腐化的规范，一边要实施现代 化转换。“现代美学”将采取对传统美学范畴实施合理的、具体的消解来 实现这一转换的目标。 第三章，“朱光潜与克罗齐关系考”，提出朱光潜前后期著作和思想 存在差别，而造成差别的原因不仅来自政治和意识形态对学科自然演进 的强制性打断，更多的来自他下了一番“吮英咀华”和“取精用弘”苦 功后的汰择;朱光潜对于康德、克罗齐、尼采、立普斯、弗洛伊德以及 马克思等诸多不同体系的哲学，心理学和美学的涉猎，在认同和阐释上 发生的前后变化正是取决于他自身理论体系的建构，并在建构中显现了 朱光潜对“审美现代性的过渡问题”的思考。朱光潜对这一问题的思考 有延续性，可分为“前期思考”和“后期再思考”两个阶段。 第四章，“朱光潜如何建构现代美学体系”，本章提出问题，现代形 态的中国美学在朱光潜的美学研究历程中如何成形?认为可以从两个方 面寻找答案:(l)朱光潜清晰透彻地介绍了西方一系列影响深远的重要 美学思想。(2)朱光潜开创性地创立了一个比较完整的现代美学的逻辑 框架和语言表述范式。前期，朱光潜的美学研究主要在人的心理活动机 制中寻找美、美感和艺术的本质，《文艺心理学》是同时期的理论总结: 50年代，又主要在认识论的框架内探讨审美对象和审美主体的关系，论 文《美学怎样才能既是唯物的又是辩证的》和《论美是客观和主观的统 一》是大讨论中其观点和阐述的归纳;美学大讨论后的60年代，辩证唯 物和历史唯物哲学观的深刻理解和把握，使朱光潜找到了马克思主义的 美学实践观，并发表《生产劳动与人对世界的艺术掌握—马克思主义 美学的实践观点》。实践观的形成是朱光潜美学思想发展的一个历史进 步。 通过考察朱光潜美学体系及其如何进行美学现代化转型，我们得出 的结论是:艺术与美学之间存在相互的排斥力，美学采取对传统美学范 畴实施合理的、具体的消解实现美学的现代性转换，美学和艺术之间将 3 以保持某种张力的方式共处。最后我们可以说，无论艺术还是美学，作 为承载着人类历史和文明的“存在”，他们就是历史之“千古绝唱”。人 类历史在时光的河床里流淌，艺术与美学将常变常新，掀起浪花朵朵。
[Abstract]:"Opposition" and poetry long-standing. In the west, it originated from the ancient philosophy of tyranny - Platon. This ancient proposition has never been a day by the ultimate solution, because the two elements of the proposition is "unsettled" state since the birth of "opposite thinking" and "poetry" is derived a beautiful scenery, as the link of "thinking" and "poetry" and "Aesthetics", because it exists in many aestheticians with vigour and vitality in the ups and downs, the artist and the lovely audience, and art. Adorno on the aesthetics of "shame" -- a reflection of "reflection" attitude. May be harmful to many amateur heart aesthetics:
"No one of the other philosophical disciplines, like aesthetics so fragile to rely on the prerequisite. It is like a aesthetics, each a philosophy of style of study, literature and science of wind blown wavering. While people from the perspective of aesthetics and metaphysical norms, while also to experience and description the way of aesthetics. For a moment from the artist's point of view on aesthetics, while from the consumer's viewpoint to treat aesthetics." (< > translated by Wang Keping Adorno's aesthetic principle of Sichuan people's Publishing House in 1998 page 558th)
This is an aesthetic amateur article. This paper uses interdisciplinary research methods of comparative literature, influence research and parallel comparison, to China modern esthetician Zhu Guangqian and its aesthetic system as the carrier and case study, to explore the aesthetic existence problem of leather encounter modernity change, there is mutual repulsion the argument between aesthetics and art at the same time, this is we think about a theoretical premise of modern aesthetic needs is clarified.
The first chapter: "the aesthetic consciousness of historical observation theory, from the historical point of view elaborated human aesthetic consciousness and aesthetic ability in labor; moreover, human art also experienced a changing process in the sense of philosophy. The artistic philosophy is placed in the background, we discuss the fundamental starting point. Cause is" aesthetic modernity "to emerge.
The second chapter: "the aesthetics of" Modernity "thinking", this chapter firstly puts forward the aesthetic philosophy of art history status and destiny, discusses the modern artists are trying to break with the traditional aesthetics, because behind the development of aesthetics of art itself has led to great "incompatibility" between the two; at the same time
That art is not likely to remain the same, but it can not be invisible from the stage of history, the development of Art
It is a process of self emancipation. We try to argue that aesthetics is still not.
May abandon the arts and he Gu, conversely, art has not been reached when the degree of birth without pity, don't tick to beauty
The theoretical concern of learning; therefore, on the side of aesthetics, it is necessary to get rid of the old and decadent norms and to carry out the modern one.
"Modern aesthetics" will take a reasonable and specific solution to the traditional aesthetic category.
To achieve the goal of this transformation.
The third chapter, "the relationship between Zhu Guangqian and Croce", put forward the works and ideas of Zhu Guangqian in the late and late period
The difference is caused not only by the natural evolution of politics and ideology in the subject.
The mandatory interrupted more from him under a "suck Ying Ju Hua" and "will extract the bitter
After the work of the choice; Zhu Guangqian for Kant, Croce, Nitzsch, risps, Freud and
Marx and many different systems of philosophy, psychology and aesthetics are involved in the identification and interpretation.
The change of the pre - and post changes depends on the construction of his own theoretical system and is manifested in the construction.
Zhu Guangqian's thinking about "the transition of aesthetic modernity". Zhu Guangqian's thinking on this problem
There are two stages of continuity, which can be divided into "early thinking" and "later Rethinking".
The fourth chapter, "how does Zhu Guangqian construct the modern aesthetic system", this chapter puts forward the question, the modern form
How does Chinese aesthetics form in the course of Zhu Guangqian's aesthetic study? It can be seen from two parties
Looking for the answer: (L) Zhu Guangqian gave a clear and thorough introduction to a series of important Western implications.
Aesthetic thought. (2) Zhu Guangqian created a more complete logic of modern aesthetics.
Frame and language expression paradigm. In the early stage, Zhu Guangqian's aesthetic research was mainly in the human psychosocial machine
In the system, the essence of beauty, beauty and art is found. Literary psychology is the theoretical summary of the same period.
In 50s, the relationship between aesthetic objects and aesthetic subjects was discussed in the framework of epistemology.
How can aesthetics be both materialistic and dialectical > and < on beauty as objective and subjective
One is a summary of its views and elaboration in the great discussion; in the 60s after the great discussion of aesthetics, dialectical materialism
The profound understanding and grasp of the materialist philosophy of materialism and historical materialism made Zhu Guangqian find the Marx doctrine
The view of aesthetic practice and publication of production labor and man's mastery of the art of the world - Marx doctrine
The aesthetic view of practice. The formation of the concept of practice is the development of Zhu Guangqian's aesthetic ideas into a history
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