康德美学中自然与自由观念研究

发布时间：2018-04-20 19:40

本文选题：康德美学 + 自然　；参考：《浙江大学》2007年博士论文

【摘要】： 论文从康德美学中的两个重要概念“自然”与“自由”观念出发重建康德美学体系，对康德美学中两个关键性的概念“自然”和“自由”进行挖掘，从自然观念出发建构康德的先验美学，寻求康德美学的先验特质；从自由观念出发建构康德的本体论美学，探究康德美学的形上之思，将长期被遮蔽的康德美学主题“自然与自由和谐论”挖掘出来，从而形成对康德美学新的解释。论文第一章从康德哲学中自然与自由观念出发，深入的分析康德哲学中自然与自由观念，正是康德哲学中自然与自由观念的冲突导致了康德美学体系的诞生，因而理清康德哲学中自然与自由观念是理解康德美学中自然与自由观念的理论前提。论文第二章从康德美学中自然观念出发重建康德的先验美学。康德美学是其先验哲学体系的一个重要组成部分，因而康德美学的先验特质一直在学术界没有清晰的界定。本章决定从《判断力批判》的下卷出发，从“目的论自然的发现”到康德美学的先验转向，纠正康德美学研究中习惯认为“目的论判断力批判”是“审美判断力批判”的附庸的观点，正是目的论自然的发现，才找到审美判断力的先验原理“自然形式的合目的性”，而先天原理的发现才使判断力批判成为可能，审美才能够具有普遍必然性，先天原理与美学问题的关联就成为康德美学研究的一个重要问题，而康德在自然美中就深入的论证了康德美学的核心问题“先验美学是如何可能的”，从而对自然美的理解就成为解释康德先验美学特质的一个路径。因而从“目的论自然”到“自然形式的合目的性”再到“自然美”的论述就形成了康德先验美学中一条隐含着的内在逻辑，其内在理路就是康德的先验美学方法论。论文第三章从康德美学中自由观念出发重建康德的本体论美学。对康德美学中自由概念的论述学术界论述的很多，到目前为止还主要停留在“审美无利害”的论述上。而实际上，康德美学中的自由观念有着不同的层次，而“审美无利害”仅仅是其感性的经验的层次，在先验的和超验层次上还蕴涵着康德美学的本体论基础。论文通过对康德美学中自由观念三个层次的解析，形成对康德美学中“自由概念”的一种新的解释思路。即在经验层面上审美自由表现为一种无利害的自由感，而在先验的层面上审美自由则表现为审美共通感，在超验的层面上审美自由则又表现为对实践理性的追求，而康德审美自由的最终目标则是建构以“自由”为核心的实践理性本体论美学。论文第四章从康德哲学精神出发论述了自然与自由在美学中的和谐。通过反思判断力沟通了了自然与自由的鸿沟，而这一切只有在对康德“先验人类学”的全面理解下才有可能。康德通过审美达成的自然界向自由界的过渡的真正内涵是怎样的，这对理解康德美学的目的很重要，本章通过“自然与自由和谐论”这一论题对康德美学的这一真实内涵给于解释，即通过审美沟通经验的自然世界与超验的自由世界，从而形成对康德美学的整体理解。但是康德通过反思判断力所形成的自然与自由的和谐只能是主观意识的和谐，只有在马克思的实践观下的自然与自由的和谐才是真正意义上的和谐。论文第五章从中国当代美学出发，论述康德美学“自然与自由和谐论”对中国当代美学理论建设的意义。本章尝试从“对话”的视角来研究康德美学对中国当代美学研究的意义。这种“对话”并不准备拿康德整体的美学思想与中国当代美学整体进行比较和阐释，而是选择康德美学主题“自然与自由和谐论”来与中国当代美学研究中的几个重要问题进行影响研究，看看康德美学对中国当代美学研究有那些重要的意义。我们前面已经论述康德“自然与自由和谐论”论述了美学学科的性质是从经验现象界的自然中体验(类比、象征)到超验的自由(道德、实践理性)的意义，因而美学的目的就是通过审美沟通经验世界与超验世界，完成对自身人格的建构，这样美学的学科就是形而上与形而下兼顾的一门人文学科，，因而美学的主题就是“自然与自由的和谐”。通过对康德美学主题的阐释我们可以分析中国当代美学研究的方法论误区，分析中国当代美学的在“自然与自由”问题的发展道路，分析实践美学与超越美学的论争，分析日常生活审美化问题的虚假性，而这一切从康德美学中我们也许都可以寻求到答案。正是由于学术界对康德美学中自然与自由这两个概念的忽视和误解，从而导致了康德美学研究没有能够深入的进行下去，特别是康德美学中许多隐含着的东西没有被发掘出来，本论文决定在这些方面作出新的探询。
[Abstract]:From the two important concepts of Kantian Aesthetics "nature" and "freedom", the thesis reconstructs the Kantian aesthetic system, excavates the two key concepts of Kantian Aesthetics "nature" and "freedom", constructs Kant's transcendental aesthetics from the natural concept, seeks the transcendental characteristics of Kantian Aesthetics, and starts from the free concept. To construct Kant's ontological aesthetics, explore the form of Kantian Aesthetics, and excavate the long obscured Kantian aesthetic theme "nature and freedom and harmony", thus forming a new interpretation of Kant's aesthetics.
The first chapter, starting from the concept of nature and freedom in Kantian philosophy, deeply analyzes the concept of nature and freedom in Kantian philosophy. It is the conflict between nature and freedom in Kantian philosophy, which leads to the birth of Kant's aesthetic system, so that the concept of nature and freedom in Kantian philosophy is to understand the concept of nature and freedom in Kantian Aesthetics. Theoretical premise.
The second chapter of the thesis reconstructs Kant's transcendental aesthetics from the natural concept of Kant's aesthetics. Kant's aesthetics is an important part of his transcendental philosophical system. Therefore, the transcendental characteristics of Kant's aesthetics have not been clearly defined in the academic circle. To the transcendental turn of Kantian Aesthetics and correct Kantian Aesthetics, the habit of "critique of judgment of teleology" is an appendage of "critique of aesthetic judgment". It is the discovery of the nature of Skopos theory that the transcendental principle of the aesthetic judgment "natural form" is found, and the discovery of the innate principle makes judgment criticize. It is possible that the aesthetic can have universal necessity. The association of the innate principles and the aesthetic issues has become an important issue in the study of Kant's aesthetics. While Kant is in the natural beauty, the core issue of Kant's aesthetics is "how the transcendental aesthetics is possible", and the understanding of natural beauty is a transcendental interpretation of Kant. Therefore, from the "skopostheological nature" to "natural form" and "natural beauty" to "natural beauty", the internal logic of Kant's transcendental aesthetics is an inherent logic of Kant's transcendental aesthetic methodology.
The third chapter of the thesis reconstructs Kant's ontological aesthetics from the concept of freedom in Kantian Aesthetics. A lot of academic discussions on the concept of freedom in kantia esthetics have been mainly discussed in the "aesthetic no interest". In fact, the concept of freedom in Kant's aesthetics has different levels, and "aesthetic no benefit". It is only the level of its perceptual experience, which also contains the ontological basis of Kant's aesthetics in the transcendental and transcendental levels. Through the analysis of three levels of freedom in Kantian Aesthetics, the thesis forms a new way of interpretation of "free concept" in Kant's aesthetics. On the transcendental level, the aesthetic freedom is expressed as aesthetic synaesthesia, and the aesthetic freedom in transcendental level is also the pursuit of practical reason, while the ultimate goal of Kant's aesthetic freedom is to construct the practical rational ontology aesthetics with "freedom" as the core.
The fourth chapter of the thesis discusses the harmony between nature and liberty in the spirit of Kant's philosophy. The gap between nature and freedom is communicated through reflection judgment, which is only possible under the comprehensive understanding of Kant 's "transcendental anthropology". Kant's transition to the free world through aesthetic nature is true. What is the culvert is very important for the purpose of understanding Kant's aesthetics. This chapter gives an explanation of the true connotation of Kant's aesthetics through the theme of "the theory of nature and freedom and harmony", that is, through the natural world of aesthetic communication experience and the transcendental free world, thus forming a holistic understanding of Kantian Aesthetics. The harmony of nature and freedom formed by the breaking force can only be the harmony of subjective consciousness. Only the harmony of nature and freedom under Marx's view of practice is the real harmony.
The fifth chapter, starting from Chinese contemporary aesthetics, discusses the significance of Kant's theory of "nature and freedom and harmony" to the construction of Chinese contemporary aesthetics. This chapter tries to study the significance of Kantian Aesthetics to the study of Chinese contemporary aesthetics from the perspective of "dialogue". This "dialogue" is not prepared to take the whole aesthetic thought of Kant and China. The overall comparison and interpretation of contemporary aesthetics is to choose the theme of Kant's aesthetic theme "nature and freedom and harmony" to study several important issues in the study of Chinese contemporary aesthetics, and to see that Kant's aesthetics has those important meanings to the study of contemporary Chinese aesthetics. "On the nature of aesthetics is the meaning of the nature of the experience (analogy, symbol) to the transcendental freedom (moral, practical reason). Therefore, the purpose of aesthetics is to complete the construction of its own personality through the aesthetic communication of the experience world and the transcendental world, so that the aesthetic subject is both metaphysics and shape. As a subject of humanities, the theme of aesthetics is "harmony between nature and freedom". Through the interpretation of the theme of Kantian Aesthetics, we can analyze the misunderstanding of the methodology of Chinese contemporary aesthetics, analyze the development road of Chinese contemporary aesthetics in the "nature and freedom", and analyze the controversy between practical aesthetics and transcendental aesthetics. The falsity of the aestheticization of everyday life may be the answer from Kantian Aesthetics.
It is the neglect and misunderstanding of the two concepts of nature and freedom in Kant's aesthetics, which leads to the failure of Kant's aesthetic study to go on, especially in Kantian Aesthetics, which have not been discovered. This paper decides to make a new inquiry in these aspects.

【学位授予单位】：浙江大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：I01

【相似文献】