高友工中国抒情传统研究

发布时间：2018-07-09 13:23

本文选题：高友工 + 抒情传统　；参考：《浙江大学》2008年博士论文

【摘要】： 本文研究海外华人学者、美国普林斯顿大学教授高友工先生的中国抒情美学,为国内的中国美学史写作提供可以借鉴的个案。长期以来,国内的中国美学史研究囿于方法论的局限,在总体研究态势上未能超越文学批评的水平。而高友工从理论入手,融合西方现代美学的各派成果,发明了一套成熟的方法论体系,并将之用于中国抒情传统的揭橥,确立了明确的美学史观,在海外特别是美国、台湾等地产生了巨大影响,追随者甚众。高友工的中国抒情美学间架呈共时态理论建设与历时态体类批评的纵横交错展开。他先从理论搭架,借西学之力,说明中国抒情传统的美学意义,确立抒情传统言说的基本途径,并在此过程中,营构出一个似乎可以统贯中国美学主流,甚至兼容西方艺术概要的普适性的框架。在此基础上,他发展出抒情论的核心观念——象征,并以此为范式,推衍中国美学史上各个艺术体类的抒情理想:先秦乐论和汉魏六朝文论因其象征意义而被视为抒情传统的萌芽;唐代律诗和书法被认为是意境和气势的各自体现,分别代表了两类不同的抒情美典;宋代的山水画继承了律诗的意境美学,水墨画延续了草书的气势美学,而文人画则被看成是意境与气势的结合,代表了抒情传统的合流。本文以为,高友工以改造下的结构语言学为核心组织容纳各派学说,并以此作为中国美学研究的技术手段,在整体上很好地显示了中国美学相较于西方美学的特殊性质,并对相关艺术现象做了行之有效的解释;但与此同时,理论的先在性和立史的预设性导致他在美学史的许多具体细节上产生偏差:譬如,先秦乐论虽然论及象征,但此象征主要涉及统治者的集体意志而非个人的创作经验,并不符合以保存个人经验为目的的抒情美典;又如,律诗是一种音乐性艺术,最杰出的七律作品带有强烈的历史情境,在形式开显中展开时空想像,并不指向抽象内涵的象征;再如,山水画的散点透视是为了消除个人的视限,在意识中还原现象,而不是在心理空间中重构意象。由此可见,理论方法和比较视野固然重要,但材料考证和还原历史语境是美学史研究更基本的要求,高友工的研究成果于此并不完善,在他的基础上革故鼎新而超越之,可以推进中国美学史研究的进一步发展。
[Abstract]:This paper studies the Chinese lyric aesthetics of Gao Yougong, a professor of Princeton University and an overseas Chinese scholar, which provides a case study for Chinese aesthetic history writing. For a long time, the study of Chinese aesthetic history has been limited by methodology and failed to surpass the level of literary criticism in the overall research situation. On the other hand, Gao Yougong started from the theory, fused the various achievements of the western modern aesthetics, invented a set of mature methodology system, and applied it to the lyrical tradition of China, established a clear aesthetic historical view, overseas, especially in the United States, Taiwan and other places have had a huge impact, and many followers. Gao Yougong's interframe of Chinese lyric aesthetics is the staggered construction of the theory of syntenses and the criticism of chronological forms. He first set up the frame from the theory, borrowed the strength of western learning, explained the aesthetic significance of Chinese lyric tradition, established the basic way of lyrical tradition, and in the process, he constructed a mainstream of Chinese aesthetics that seems to be able to be unified. Even compatible with the universal framework of Western art synopsis. On this basis, he developed the core concept of lyricism, symbolism, and used it as a paradigm. The lyric ideals of various artistic genres in the history of Chinese aesthetics are discussed: the pre-Qin music theory and the Han Wei and six dynasties literary theories are regarded as the germination of lyric tradition because of their symbolic significance, and the legal poems and calligraphy of the Tang Dynasty are considered to be the respective embodiment of artistic conception and momentum. The landscape painting of Song Dynasty inherits the artistic conception aesthetics of legal poems, the ink painting continues the momentum aesthetics of cursive calligraphy, while the literati painting is regarded as the combination of artistic conception and momentum, representing the confluence of lyrical tradition. This paper holds that Gao Yougong takes the modified structural linguistics as the core organization to accommodate the various theories, and takes it as a technical means for the study of Chinese aesthetics, which, on the whole, shows the special nature of Chinese aesthetics in comparison with that of western aesthetics. At the same time, the presupposition of the theory leads him to deviate from many specific details in the history of aesthetics: for example, although the pre-Qin music theory deals with symbolism, However, this symbol mainly involves the collective will of the ruler, not the individual's creative experience, and does not conform to the lyrical beauty of preserving personal experience. For example, legal poetry is a musical art. The most outstanding works of the Seven laws have a strong historical situation. They unfold space-time imagination in form, and do not point to the symbol of abstract intension. For example, the scattered point perspective of landscape painting is to eliminate the individual's limitation and restore the phenomenon in consciousness. Instead of reconstructing images in mental space. It can be seen from this that theoretical methods and comparative perspectives are important, but textual research and restoration of historical context by materials are more basic requirements for the study of aesthetic history. Gao Yougong's research results are not perfect in this regard. On the basis of his innovation and transcendence, Gao Yougong's research results are not perfect. It can promote the further development of Chinese aesthetic history research.
【学位授予单位】：浙江大学
【学位级别】：博士
【学位授予年份】：2008
【分类号】：I01

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