李泽厚美学思想发展概述

发布时间：2018-05-12 17:02

本文选题：李泽厚 + 主体性　；参考：《厦门大学》2007年硕士论文

【摘要】： 目前,学术界关于李泽厚美学思想的评论文章可谓汗牛充栋、层出不穷,然而形成系统研究的论著并不多见。时下,美学界针对李泽厚本人的主体性实践美学思想以及以他为代表的实践美学的争论和探讨仍有方兴未艾之势。因此,系统地研究、分析和评价李泽厚美学思想体系在当今新一轮的美学大探讨中就显得十分重要了。李泽厚的美学思想发端、发展于上个世纪的两场美学大讨论中,并从此在中国美学界占据了主流地位,以其为代表的实践美学阵营也日益壮大和日臻完善,在中国美学界产生了半个多世纪的广泛而深刻的影响。时代环境的熏陶、丰富的理论资源的借鉴和吸收以及个人独特的学术探索,使李泽厚的美学思想在经历了三个时期的改进后趋于完善。从20世纪50年代至今,他提出了“自然的人化”、“积淀”、“主体性”、“人的自然化”与“情本体”等重要范畴,建构了一个涉及美——美感——艺术三大块的理论逻辑框架,从而形成了一个既具有共时性又具有历时性的纵横捭阖的美学体系。当然,李泽厚的美学体系并非无懈可击,他美学思想中的理性化、现实化、物质化、非个性化、实体化、客体化的倾向以及其理论自身所体现出来的五重矛盾(即哲学观念的一元化与方法多元化的矛盾;把人类学混同于美学的矛盾;工具本体与心理本体(情本体)的矛盾;积淀说内部的理性与感性、群体与个体的矛盾;人类中心与世界共存的矛盾)均遭到了包括实践美学阵营在内的不同学术派别的众多学者的质疑和驳难。面对这种情况,李泽厚一方面进行了回应和辩护,另一方面也进行了深入的反思,探索出了一系列解决方案,尤其是后期提出了“人的自然化”和“情本体”以弥补其早期的“自然的人化”和“工具本体”的过度膨胀所导致的人与自然的关系的疏远甚至恶化。然而,他美学思想中固有的矛盾并没有因为这两个范畴的提出而得到解决,相反,还滋生了一系列新的矛盾,“人的自然化”和“自然的人化”、“情本体”与“积淀”说无论是在理论逻辑上还是在现实中都难以调和,而“情本体”这个概念本身的过于宽泛又使其难以担当人生本体之重任,其现实可行性仍有待考察。尽管李泽厚的主体性实践美学思想仍然存在着诸多弊端和缺陷,但是综观他美学思想的发生、发展和改进的全过程,尤其是贯串其美学体系始终的对审美的实践基础的坚持,对主体理性精神的追求以及其理论中体现出来的坚实而又厚重的历史感等,他对中国的美学发展所作出的贡献还是有目共睹的。另外,他本人深厚扎实的学问和深切的人文关怀以及对中国美学的现代转型所做的孜孜不倦的努力更让人钦佩。在他的引领下,越来越多的学者将继续探索和研究他遗留下来的美学问题,共同开创中国现代美学崭新的明天。
[Abstract]:At present, the academic criticism about Li Zehou's aesthetic thought can be described as superfluous and endless, but there are few papers that form systematic research. Nowadays, the debate and discussion of Li Zehou's subjective practical aesthetics and his practical aesthetics are still in the ascendant. Therefore, it is very important to systematically study, analyze and evaluate the Li Zehou aesthetic thought system in the new round of aesthetic discussion. Li Zehou's aesthetic thought originated from two great aesthetic discussions in the last century, and since then it has occupied the mainstream position in the field of aesthetics in China. The camp of practical aesthetics represented by Li Zehou has also been growing and improving day by day. It has had a profound and extensive influence in the field of Chinese aesthetics for more than half a century. The influence of the environment of the times, the reference and absorption of abundant theoretical resources and the individual unique academic exploration make Li Zehou's aesthetic thought perfect after three periods of improvement. From the 1950s to the present, he put forward some important categories, such as "humanization of nature", "accumulation", "subjectivity", "naturalization of human beings" and "Noumenon of feelings". This paper constructs a theoretical logic frame involving three chunks of beauty-aesthetic feeling-art, and thus forms an aesthetic system of both synchronic and diachronic manipulation. Of course, Li Zehou's aesthetic system is not impeccable, his aesthetic thought is rational, realistic, materialized, non-individualized and materialized. The tendency of objectification and the five contradictions embodied in its theory itself (namely, the contradiction between the unity of philosophical concepts and the diversity of methods, the contradiction between anthropology and aesthetics, the contradiction between tool ontology and psychological ontology), and the contradiction between anthropology and psychological Noumenon (emotional Noumenon); The internal rationality and sensibility the contradiction between group and individual and the contradiction between human center and the world have been questioned and refuted by many scholars of different academic schools including the camp of practical aesthetics. In the face of this situation, on the one hand, Li Zehou responded and defended, on the other hand, he also carried out in-depth reflection and explored a series of solutions. Especially in the later period, the author put forward "naturalization of man" and "Noumenon of emotion" in order to make up for the alienation and even deterioration of the relationship between man and nature caused by the excessive expansion of "natural humanization" and "instrumental ontology" in his early period. However, the inherent contradiction in his aesthetic thought has not been solved because of these two categories. On the contrary, a series of new contradictions have been created, that is, "naturalization of man" and "humanization of nature". The theory of "emotion Noumenon" and "accumulation" are difficult to reconcile either in theory logic or in reality, but the concept of "emotion Noumenon" itself is too broad and makes it difficult to bear the responsibility of life Noumenon, and its practical feasibility still needs to be investigated. Although there are still many drawbacks and defects in Li Zehou's subjective practical aesthetic thought, the whole process of its occurrence, development and improvement, especially the persistence of its aesthetic system to the practical basis of aesthetics, is summarized. His contribution to the development of Chinese aesthetics is evident from his pursuit of the spirit of subjective reason and the solid and heavy sense of history embodied in his theory. In addition, his deep and solid knowledge, deep humanistic concern and his tireless efforts in the modern transformation of Chinese aesthetics are even more admirable. Under his guidance, more and more scholars will continue to explore and study the aesthetic problems left over by him, and jointly create a new future for Chinese modern aesthetics.
【学位授予单位】：厦门大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：B83-092

【引证文献】