本文選題：美學　切入點：現(xiàn)代性　出處：《上海外國語大學》2004年碩士論文　論文類型：學位論文

【摘要】：“思與詩的對立”由來已久。在西方，它肇始于古代哲學僭主——柏拉圖。這個古老命題從來不曾有被終極解決的那一天，因為組成命題的兩個要素自誕生就處于“變動不居”的狀態(tài)：“思”與“詩”的對立也衍生了一道動人的風景——作為鏈接“思”與“詩”的“美學”，只因它的存在，于轟轟烈烈中沉浮了多少美學家、藝術(shù)家和可愛的觀眾，還有藝術(shù)品。阿多諾對美學的“羞辱”——一種“反思‘反思’”的態(tài)度，可能會傷害到眾多美學業(yè)余愛好者的心： “沒有任何一門其他哲學學科，像美學學科那樣如此脆弱地倚賴于諸先決條件。美學猶如風標似的，被每一陣哲學風、文學風以及科學風吹得搖擺不定。人們一會兒從形而上和規(guī)范的角度考察美學，一會兒又以經(jīng)驗的和描述的方式探討美學。一會兒從藝術(shù)家的觀點出發(fā)來思索美學，一會兒又從消費者的觀點出發(fā)來對待美學�！�(《美學原理》阿多諾著 王柯平譯 四川人民出版社 1998年版 第558頁) 這是一篇美學業(yè)余愛好者的文章。本文擬采用比較文學的跨學科研究、影響研究和平行比較等方法，以中國現(xiàn)代美學家——朱光潛及其美學體系為論述載體和研究個案，來考察美學遭遇現(xiàn)代性變革之際的生存狀態(tài)問題，論證同時代的美學與藝術(shù)之間存在相互的排斥力，這是我們思考美學現(xiàn)代性需要瀝清的一個理論前提。 第一章：“審美意識歷史觀通論”，從歷史觀的角度闡述了人類在勞動中獲取審美意識和審美能力；而且，人類藝術(shù)在哲學意義上也歷經(jīng)了一個各種形態(tài)流變的過程。將藝術(shù)放置在哲學背景下，，既是我們討論的起始點，也是“美學現(xiàn)代性”問題孵化而出的根本動因。 第二章：“美學的‘現(xiàn)代性’思考”，本章首先提出美學的哲學地位和藝術(shù)的歷史命運問題，論述了現(xiàn)代藝術(shù)家正在力圖與傳統(tǒng)美學決裂，因為美學落后于藝術(shù)自身的發(fā)展導致了兩者之間極大的“不相容性”；同時 指出藝術(shù)不可能依然如故，但它也不可能隱身退出歷史舞臺，藝術(shù)發(fā)展 是一個不斷自我解放的過程。我們試圖論證這樣一個觀點:·美學仍然不 可能棄藝術(shù)而他顧，反之，藝術(shù)還不曾達到矜誕無當?shù)某潭�，要剔別美 學的理論關(guān)懷;因此美學一邊要擺脫陳舊腐化的規(guī)范，一邊要實施現(xiàn)代 化轉(zhuǎn)換。“現(xiàn)代美學”將采取對傳統(tǒng)美學范疇實施合理的、具體的消解來 實現(xiàn)這一轉(zhuǎn)換的目標。 第三章，“朱光潛與克羅齊關(guān)系考”，提出朱光潛前后期著作和思想 存在差別，而造成差別的原因不僅來自政治和意識形態(tài)對學科自然演進 的強制性打斷，更多的來自他下了一番“吮英咀華”和“取精用弘”苦 功后的汰擇;朱光潛對于康德、克羅齊、尼采、立普斯、弗洛伊德以及 馬克思等諸多不同體系的哲學，心理學和美學的涉獵，在認同和闡釋上 發(fā)生的前后變化正是取決于他自身理論體系的建構(gòu)，并在建構(gòu)中顯現(xiàn)了 朱光潛對“審美現(xiàn)代性的過渡問題”的思考。朱光潛對這一問題的思考 有延續(xù)性，可分為“前期思考”和“后期再思考”兩個階段。 第四章，“朱光潛如何建構(gòu)現(xiàn)代美學體系”，本章提出問題，現(xiàn)代形 態(tài)的中國美學在朱光潛的美學研究歷程中如何成形?認為可以從兩個方 面尋找答案:(l)朱光潛清晰透徹地介紹了西方一系列影響深遠的重要 美學思想。(2)朱光潛開創(chuàng)性地創(chuàng)立了一個比較完整的現(xiàn)代美學的邏輯 框架和語言表述范式。前期，朱光潛的美學研究主要在人的心理活動機 制中尋找美、美感和藝術(shù)的本質(zhì)，《文藝心理學》是同時期的理論總結(jié): 50年代，又主要在認識論的框架內(nèi)探討審美對象和審美主體的關(guān)系，論 文《美學怎樣才能既是唯物的又是辯證的》和《論美是客觀和主觀的統(tǒng) 一》是大討論中其觀點和闡述的歸納;美學大討論后的60年代，辯證唯 物和歷史唯物哲學觀的深刻理解和把握，使朱光潛找到了馬克思主義的 美學實踐觀，并發(fā)表《生產(chǎn)勞動與人對世界的藝術(shù)掌握—馬克思主義 美學的實踐觀點》。實踐觀的形成是朱光潛美學思想發(fā)展的一個歷史進 步。 通過考察朱光潛美學體系及其如何進行美學現(xiàn)代化轉(zhuǎn)型，我們得出 的結(jié)論是:藝術(shù)與美學之間存在相互的排斥力，美學采取對傳統(tǒng)美學范 疇實施合理的、具體的消解實現(xiàn)美學的現(xiàn)代性轉(zhuǎn)換，美學和藝術(shù)之間將 3 以保持某種張力的方式共處。最后我們可以說，無論藝術(shù)還是美學，作 為承載著人類歷史和文明的“存在”，他們就是歷史之“千古絕唱”。人 類歷史在時光的河床里流淌，藝術(shù)與美學將常變常新，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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