王国维、朱光潜悲剧理论之审辨
发布时间：2019-04-29 20:52
【摘要】：本文通过对王国维、朱光潜的悲剧理论进行分析和述评，在20世纪中国美学的现代性传统背景下对两者进行比较研究。 悲剧论是王国维和朱光潜早期美学研究的重要领域。本文前两部分首先对王国维和朱光潜的悲剧学说分别进行述评。王国维是引入西方哲学和美学理论对中国文学作品进行评论的第一人。通过对王国维早期论著的研究，作者认为王国维的多篇著作中都表露了对悲剧的看法，其思想深受叔本华等西方理论家的影响，但却并非没有选择、改造和拒绝的全盘照搬。而且，王国维在对中国文学作品和作家的评论中，创造性地用一组概念表述了对悲剧的起源与本质、悲剧的美感属性、悲剧的价值与效用，悲剧人生观等内容的看法。他的悲剧理论富有形而上意味，虽未形成体系，但却极有创见性。 朱光潜是继王国维之后对悲剧进行深入研究的现代美学家。他从纯粹理论的角度分析研究悲剧美感问题，与同时代的文艺家主要重视悲剧的社会政治功用有明显差别。通过批判吸收各种西方悲剧学说，，朱光潜自觉运用心理学美学的方法建立了自己的一套初具体系的悲剧理论。但是朱光潜的悲剧理论仍然与哲学观念和哲学方法密切相关，本文重点考察了朱光潜的悲剧学说与尼采美学的关系，指出朱氏的《悲剧心理学》受到了尼采《悲剧的诞生》的深刻影响。 本文的第三部分结合西学东渐及中国现代美学的发生这一背景对王国维、朱光潜的悲剧理论进行比较。尽管王、朱两人的悲剧理论不存在事实上的影响关系，但却在理论的出发点、方法论特点以及一些具体观念内容上存在某些共同倾向，显示出他们对待传统文化和西方学术与同代学人不同之处。在指出王、朱悲剧理论所具的类同性的同时，本文同时辨析两者的差异性特点，认为两人在融合、沟通中西美学的基础上产生的悲剧理论既有不可取代的特色，又具有互补性，共同丰富了中国现代文艺美学理论，为我们反思和总结中国现代美学形成和发展中的所得和所失提供了有益的启示。
[Abstract]:Based on the analysis and commentary of Wang Guowei and Zhu Guangqian's tragedy theory, this paper makes a comparative study of Wang Guowei and Zhu Guangqian's tragedy theory under the background of the modernity tradition of Chinese aesthetics in the 20th century. Tragic theory is an important field in the early aesthetic studies of Wang Guowei and Zhu Guangqian. The first two parts of this paper first comment on Wang Guowei and Zhu Guangqian's tragic theory. Wang Guowei is the first person to comment on Chinese literary works by introducing western philosophy and aesthetic theory. Through the study of Wang Guowei's early works, the author believes that Wang Guowei's thoughts are influenced by Schopenhauer and other western theorists, but they are not completely copied by the choice, transformation and rejection in many of Wang Guowei's works. The author thinks that Wang Guowei's thoughts are deeply influenced by Schopenhauer and other western theorists, and his thoughts are deeply influenced by Schopenhauer. Moreover, in his comments on Chinese literary works and writers, Wang Guowei creatively expressed his views on the origin and essence of tragedy, the aesthetic attribute of tragedy, the value and utility of tragedy, the tragic outlook on life and so on. His tragedy theory is full of metaphysical meaning, although it has not formed a system, but it is very creative. Zhu Guangqian is a modern aesthetician who has made an in-depth study of tragedy after Wang Guowei. His analysis of tragic aesthetics from the perspective of pure theory is obviously different from the contemporary literary and art scholars who attach great importance to the social and political function of tragedy. By criticizing and absorbing all kinds of western tragic theories, Zhu Guangqian consciously applied the method of psychological aesthetics to establish his own set of systematic tragic theories. However, Zhu Guangqian's tragic theory is still closely related to philosophical ideas and methods. This paper focuses on the relationship between Zhu Guangqian's tragic theory and Nietzsche's aesthetics. It is pointed out that Zhu's tragic Psychology is deeply influenced by Nietzsche's birth of tragedy. The third part of this paper compares Wang Guowei and Zhu Guangqian's tragedy theory with the background of western learning and the emergence of Chinese modern aesthetics. Although the tragic theories of Wang and Zhu have no de facto influence relationship, there are some common tendencies in the starting point of the theory, the characteristics of methodology and some concrete concepts and contents. It shows that they treat traditional culture and western learning differently from their contemporaries. While pointing out the similarities between Wang and Zhu's tragic theories, this paper analyzes the differences between the two, and points out that the tragic theories produced by the two people on the basis of fusion and communication between Chinese and Western aesthetics have both irreplaceable characteristics and complementary features. Together enriched the Chinese modern literary and artistic aesthetics theory, for us to reflect and summarize the formation and development of modern Chinese aesthetics gains and losses provide a useful inspiration.
【学位授予单位】：贵州师范大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：I01
本文编号：2468522
[Abstract]:Based on the analysis and commentary of Wang Guowei and Zhu Guangqian's tragedy theory, this paper makes a comparative study of Wang Guowei and Zhu Guangqian's tragedy theory under the background of the modernity tradition of Chinese aesthetics in the 20th century. Tragic theory is an important field in the early aesthetic studies of Wang Guowei and Zhu Guangqian. The first two parts of this paper first comment on Wang Guowei and Zhu Guangqian's tragic theory. Wang Guowei is the first person to comment on Chinese literary works by introducing western philosophy and aesthetic theory. Through the study of Wang Guowei's early works, the author believes that Wang Guowei's thoughts are influenced by Schopenhauer and other western theorists, but they are not completely copied by the choice, transformation and rejection in many of Wang Guowei's works. The author thinks that Wang Guowei's thoughts are deeply influenced by Schopenhauer and other western theorists, and his thoughts are deeply influenced by Schopenhauer. Moreover, in his comments on Chinese literary works and writers, Wang Guowei creatively expressed his views on the origin and essence of tragedy, the aesthetic attribute of tragedy, the value and utility of tragedy, the tragic outlook on life and so on. His tragedy theory is full of metaphysical meaning, although it has not formed a system, but it is very creative. Zhu Guangqian is a modern aesthetician who has made an in-depth study of tragedy after Wang Guowei. His analysis of tragic aesthetics from the perspective of pure theory is obviously different from the contemporary literary and art scholars who attach great importance to the social and political function of tragedy. By criticizing and absorbing all kinds of western tragic theories, Zhu Guangqian consciously applied the method of psychological aesthetics to establish his own set of systematic tragic theories. However, Zhu Guangqian's tragic theory is still closely related to philosophical ideas and methods. This paper focuses on the relationship between Zhu Guangqian's tragic theory and Nietzsche's aesthetics. It is pointed out that Zhu's tragic Psychology is deeply influenced by Nietzsche's birth of tragedy. The third part of this paper compares Wang Guowei and Zhu Guangqian's tragedy theory with the background of western learning and the emergence of Chinese modern aesthetics. Although the tragic theories of Wang and Zhu have no de facto influence relationship, there are some common tendencies in the starting point of the theory, the characteristics of methodology and some concrete concepts and contents. It shows that they treat traditional culture and western learning differently from their contemporaries. While pointing out the similarities between Wang and Zhu's tragic theories, this paper analyzes the differences between the two, and points out that the tragic theories produced by the two people on the basis of fusion and communication between Chinese and Western aesthetics have both irreplaceable characteristics and complementary features. Together enriched the Chinese modern literary and artistic aesthetics theory, for us to reflect and summarize the formation and development of modern Chinese aesthetics gains and losses provide a useful inspiration.
【学位授予单位】：贵州师范大学
【学位级别】：硕士
【学位授予年份】：2004
【分类号】：I01
【引证文献】
相关硕士学位论文 前2条
1 王要有;王国维《红楼梦评论》的悲剧思想探究[D];景德镇陶瓷学院;2010年
2 陶洋;朱光潜悲剧美学分析[D];辽宁大学;2013年
本文编号：2468522
本文链接：https://www.wllwen.com/wenyilunwen/yishull/2468522.html
