發(fā)布時間：2018-12-18 05:50

【摘要】：周來祥(1929-2011),是在中國當代美學領(lǐng)域有著突出成就的一位學者,他主張“美是和諧”,認為美學是研究審美關(guān)系的科學,他的美學以獨倡和諧在中國當代美學研究中有著自己的鮮明特色。自20世紀80年代中期以來,周來祥的美學思想在學術(shù)界日益引起廣泛關(guān)注,最受人矚目的是“提出了美是和諧自由關(guān)系的新理論”,這也是本文關(guān)注的焦點。 本文引言部分交代了周來祥審美關(guān)系說的研究現(xiàn)狀,認為有必要將周來祥審美關(guān)系說作為一個獨立的研究主題來展開。正文由四部分組成。第一章闡述周來祥審美關(guān)系說的淵源,及其在和諧美學體系中的地位、理論淵源和邏輯結(jié)構(gòu)。第二章就和諧美學體系之內(nèi)對周來祥審美關(guān)系說的邏輯結(jié)構(gòu)展開論述。第三章是本文的重點,著眼于美學論爭中的周來祥審美關(guān)系說。首先,作為美學對象的周來祥審美關(guān)系說引起了論爭,呼聲較高的是主張以審美活動替代之。其次,由于強調(diào)哲學思辨,周來祥審美關(guān)系說被質(zhì)疑偏于工具化和普適化。再者,工具化、普適化便有可能導致自由化、理想化,這就關(guān)系到美學研究的落腳點問題。第四章是本文的亮點,闡述周來祥審美關(guān)系說的啟示意義。本文認為,周來祥審美關(guān)系說在繼承古今中外的美學遺產(chǎn)的基礎(chǔ)上,強調(diào)中和的現(xiàn)實意義,強調(diào)審美價值的現(xiàn)實意義,為美學建構(gòu)提供了另一種維度,為美學價值提供了另一種審視,具有重大啟示意義。 綜上所述,周來祥審美關(guān)系說及其和諧美學從醞釀、構(gòu)建、發(fā)展到完善經(jīng)歷了中國當代美學的各個階段,跨越那么多苦難的歲月,經(jīng)歷那么多激烈的論爭,追求和諧自由的周來祥審美關(guān)系說愈加彌足珍貴,愈加耀眼閃亮。
[Abstract]:Zhou Laixiang (1929-2011), a scholar with outstanding achievements in the field of contemporary Chinese aesthetics, advocates "beauty is harmony" and holds that aesthetics is the science of studying aesthetic relations. His aesthetics advocates harmony alone and has its own distinctive characteristics in the study of contemporary Chinese aesthetics. Since the middle of 1980s, Zhou Laixiang's aesthetic thought has attracted more and more attention in academic circles, and the most attractive one is "putting forward a new theory that beauty is a harmonious and free relationship", which is also the focus of this paper. The preface of this paper explains the present situation of Zhou Laixiang's aesthetic relation theory and thinks that it is necessary to take Zhou Laixiang's aesthetic relation theory as an independent research subject. The text consists of four parts. The first chapter expounds the origin of Zhou Laixiang's aesthetic relationship, its position in harmonious aesthetic system, its theoretical origin and logical structure. The second chapter discusses the logical structure of Zhou Laixiang's aesthetic relationship theory within the harmonious aesthetic system. The third chapter is the focus of this paper, focusing on Zhou Laixiang's aesthetic relationship in the aesthetic debate. First of all, Zhou Laixiang's aesthetic relation theory, as the object of aesthetics, has caused controversy, and the voice is to replace it with aesthetic activities. Secondly, due to the emphasis on philosophical speculation, Zhou Laixiang's aesthetic relation theory was questioned by instrumentalization and universality. Furthermore, instrumentalization and universality may lead to liberalization and idealization, which is related to the foothold of aesthetic research. The fourth chapter is the bright spot of this article, expounding the enlightenment significance of Zhou Lai Xiang's aesthetic relation theory. This paper holds that Zhou Laixiang's aesthetic relationship theory emphasizes the realistic significance of neutralization and the realistic significance of aesthetic value on the basis of inheriting the aesthetic heritage of ancient and modern China and foreign countries, which provides another dimension for aesthetic construction. For aesthetic value provides another kind of examination, has the great enlightenment significance. To sum up, Zhou Laixiang's aesthetic relationship theory and its harmonious aesthetics have experienced various stages of contemporary Chinese aesthetics, spanning so many suffering years and experiencing so many heated debates from brewing, constructing, developing to perfecting. Zhou Laixiang's aesthetic relationship in pursuit of harmony and freedom is more precious and dazzling.
【學位授予單位】：西南大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：B83-092

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本文編號：2385449