【摘要】：提到中國(guó)美學(xué),很多人會(huì)自然地想到王國(guó)維、梁?jiǎn)⒊⒉淘�、朱光潛等大師。胡適是新文化運(yùn)動(dòng)的兩大旗手之一,熟悉他歷史考證工作成果的人很多,但他的美學(xué)思想一直為人所忽略。由于胡適沒有地單獨(dú)提出自己的美學(xué)體系,國(guó)內(nèi)外關(guān)于胡適的美學(xué)研究可謂少之又少,但他的美學(xué)思想,卻又確確實(shí)實(shí)地體現(xiàn)在對(duì)實(shí)際生活中的細(xì)微問題進(jìn)行分析的過(guò)程中,故而在哲學(xué)層面上我們有了討論的空間和視角。筆者將對(duì)胡適先生的美學(xué)思想進(jìn)行深入研究,探討胡適對(duì)于審美教育的獨(dú)特理解,深入發(fā)掘胡適美學(xué)思想的價(jià)值。胡適生于徽州,四歲喪父,由母親養(yǎng)大�；罩轁夂竦奈幕諊c胡母的寬容性格和重學(xué)意識(shí),為他后來(lái)在學(xué)習(xí)上的堅(jiān)韌和自強(qiáng)自立奠定了良好的基礎(chǔ)。胡適性格善良隨和、寬容謙遜,交友不分階級(jí),其求學(xué)路上四字箴言“勤、謹(jǐn)、和、緩”終生不忘。胡適的家庭教育、社會(huì)教育和自我教育,為他的平民化的美學(xué)思想打下了堅(jiān)實(shí)的基礎(chǔ)。經(jīng)歷過(guò)在美國(guó)的七年留學(xué)學(xué)習(xí)之后,胡適接受了重實(shí)驗(yàn)、重精細(xì)觀察的實(shí)驗(yàn)主義哲學(xué)思想,這又催生了他的經(jīng)驗(yàn)主義美學(xué)。他立足于現(xiàn)實(shí)生活中的人文關(guān)懷,通過(guò)實(shí)用主義美學(xué)與哲學(xué),來(lái)審視和批判社會(huì),以喚起人們對(duì)現(xiàn)代個(gè)體、對(duì)日常生活模式的批判意識(shí),把實(shí)用主義美學(xué)升華到一個(gè)更高的境界。 本文通過(guò)對(duì)胡適的詩(shī)歌美學(xué)、小說(shuō)美學(xué)、戲劇美學(xué)以及其中所體現(xiàn)的美育思想的系統(tǒng)研究,總結(jié)出胡適美學(xué)思想的核心以及胡適新詩(shī)的審美標(biāo)準(zhǔn),豐富了相關(guān)范疇的比較研究與闡釋。胡適認(rèn)為新詩(shī)的審美內(nèi)涵在于說(shuō)話明白清楚、材料有剪裁和意境平實(shí)三個(gè)層面。總體上看,胡適新詩(shī)的美學(xué)思想不僅僅是對(duì)美學(xué)”象”的繼承,而且汲取了外國(guó)意象派養(yǎng)分。但胡適所追求的,并不是傳統(tǒng)的枷鎖,或是各門各派的條條框框,而是自然地表達(dá)內(nèi)心所想。自然產(chǎn)生和諧,自然產(chǎn)生美；美在自然、樸素、不受束縛。他認(rèn)為詩(shī)貴在創(chuàng)新,詩(shī)的通達(dá)、力量和美是他的審美尺度。他試圖推翻一切束縛自由的桎梏,反對(duì)傳統(tǒng)作詩(shī)風(fēng)格,提倡白話入詩(shī)。胡適在美國(guó)留學(xué)的七年,使他能夠用世界文學(xué)的視野,來(lái)給中國(guó)的詩(shī)歌進(jìn)程尋找一條新的光明大道,其目光是敏銳而值得稱贊的。胡適美學(xué)思想在小說(shuō)考證中也不無(wú)體現(xiàn)。在對(duì)古典小說(shuō)的考證中,胡適的美學(xué)思想體現(xiàn)在自然美(《老殘游記》)、人體美(《鏡花緣》)和形象美(《紅樓夢(mèng)》)三個(gè)方面。胡適的自然美觀點(diǎn)(崇尚健康自然)、人體美觀點(diǎn)(放天足)和形象美觀點(diǎn)(藝術(shù)影像的形成需要真摯的情感和崇高的思想)對(duì)當(dāng)時(shí)社會(huì)的審美觀和美學(xué)意識(shí)的矯正起到了重要貢獻(xiàn)。胡適為迎合本民族的審美習(xí)慣和審美的能力,曾將西方的話劇融進(jìn)中國(guó)傳統(tǒng)的戲劇之中,比如奠定中國(guó)話劇初期獨(dú)幕劇形式的《終身大事》便是出自胡適之手。在《終身大事》的創(chuàng)作中,胡適拋棄了傳統(tǒng)戲劇的繁瑣套路,壓縮了情節(jié)使得劇情十分簡(jiǎn)潔,舞臺(tái)背景和道具也非常經(jīng)濟(jì),戲劇形式自然活潑。胡適提出了“要經(jīng)濟(jì)”的戲劇美學(xué)原則,一度對(duì)中國(guó)戲劇影響很大。這也和他在新詩(shī)創(chuàng)作中反對(duì)繁瑣鐐銬的思想一脈相承。雖然胡適從未明確提出審美教育這個(gè)概念,但是他卻被美的環(huán)境所包圍,并且在他當(dāng)校長(zhǎng)之后,在各地的演講中他也將自己的審美教育思想向大眾傳播。胡適以全新的實(shí)用主義美學(xué)原理解構(gòu)傳統(tǒng)教育方式,較傳統(tǒng)的教育模式是具有超越之意的。他十分清楚美感的意義和價(jià)值,更注重的是“美感”與“濟(jì)用”的統(tǒng)一。胡適身上來(lái)自中西文化傳統(tǒng)的思想,在他的潛意識(shí)中指導(dǎo)他做事重實(shí)不務(wù)虛。然而學(xué)者的身份的局限性,導(dǎo)致他必然只能采取溫和的改良措施,這也是他的局限性。本論文探討了胡適對(duì)于審美教育的獨(dú)特理解,豐富了相關(guān)范疇的比較研究與闡釋,深入發(fā)掘了胡適美學(xué)思想的價(jià)值,對(duì)當(dāng)代教育中的美育有著指導(dǎo)意義。
[Abstract]:In reference to Chinese aesthetics, many people will naturally think of Wang Guowei, Liang Qichao, Cai Yuanpei, Zhu Guangqian and other masters. Hu Shi is one of the two masters of the new cultural movement. Many people are familiar with the achievements of his historical examination work, but his aesthetic ideas have always been ignored. Because Hu Shi has not put forward his own aesthetic system, it is closed at home and abroad. Yu Hushi's aesthetic study is few and few, but his aesthetic thought is truly reflected in the analysis of the subtle problems in real life, so we have a discussion space and perspective on the philosophical level. The author will make a thorough study of Mr. Hu Shi's aesthetic ideas and discuss Hu Shi's aesthetic education. Hu Shi, born in Huizhou, was born in Huizhou, was born in Huizhou, was raised by his mother and raised by his mother. The strong cultural atmosphere of Huizhou and his mother's tolerant character and learning consciousness have laid a good foundation for his perseverance and self-reliance in his later studies. Hu Shi's kindness and kindness, tolerance and humility, and friends are not divided. Class, the four word Maxim on his way to study, "diligent, good, and slow" never forget. Hu Shi's family education, social education and self-education laid a solid foundation for his popular aesthetic thought. After seven years of studying in the United States, Hu Shi accepted the experimental philosophy of heavy experiment and meticulous observation. He gave birth to his empiricism aesthetics. Based on the humanistic care in real life, he examined and criticized the society through pragmatist aesthetics and philosophy to arouse people's critical consciousness of modern individuals, to the pattern of daily life, and to sublimate pragmatism aesthetics to a higher level.
Through the systematic study of Hu Shi's poetic aesthetics, novel aesthetics, drama aesthetics and aesthetic ideas embodied in it, this paper sums up the core of Hu Shi's aesthetic thoughts and the aesthetic standards of Hu Shi's new poetry, enriches the comparative study and interpretation of the related categories. Hu Shi believes that the aesthetic connotation of the new poem lies in the clear and clear language of the new poetry and the material of the new poetry. In general, the aesthetic thought of Hu Shi's new poetry is not only the inheritance of the aesthetic "image", but also the nourishment of the foreign Imagist school. But what Hu Shi pursues is not the traditional yoke or the rules of the various schools, but the natural expression of the inner thoughts. Nature produces harmony and natural production. Beauty is in nature, simple and unfettered. He thinks that poetry is valuable to innovation, poetry's accessibility, strength and beauty is his aesthetic criterion. He tries to overthrow all shackles of freedom, oppose traditional style of poetry, and advocate vernacular poetry. In the seven years of studying in the United States, Hu Shi can use the vision of world literature to look for the process of Chinese poetry. A new avenue of light is sharp and praiseworthy. Hu Shi's aesthetic thought is also reflected in the textual criticism. In the examination of classical novels, Hu Shi's aesthetic thoughts are embodied in the three aspects of natural beauty (< old remnants >), beauty of human body (< mirror edge >) and beauty of image ("the dream of Red Mansions >"). Hu Shi's view of natural beauty (advocating health) Nature), the view of the beauty of the human body and the beauty of the image (the formation of the artistic image needs sincere feelings and lofty ideas) has made an important contribution to the correction of the aesthetic and aesthetic consciousness of the society at that time. In order to cater for the aesthetic habits and aesthetic power of the nation, Hu Shi once melted Western dramas into Chinese traditional drama. In the creation of the event, Hu Shi abandoned the tedious routines of traditional plays, compressed the plot to make the plot very concise, the stage background and the props were very economical, and the dramatic form was natural. Hu Shi proposed a "economic" play. The aesthetic principle of drama once had a great influence on Chinese drama. It also came down in one continuous line with the idea that he opposed the tedious shackles in the creation of new poetry. Although Hu Shi never explicitly proposed the concept of aesthetic education, he was surrounded by the beauty of the environment, and after he was the principal, he also made his own aesthetic education in the speeches of the various places. Spreading to the public. Hu Shi deconstructs the traditional educational mode with the new pragmatist aesthetics principle, which is beyond the traditional educational model. He is very clear about the meaning and value of aesthetic sense and the unity of "aesthetic sense" and "economic use". Hu Shi's thought from the traditional Chinese and Western culture is guided by his subconscious mind. However, the limitations of his work, however, have led to his limitations. This paper discusses the unique understanding of Hu Shi's aesthetic education, enriches the comparative study and interpretation of the related categories, and deeply explores the value of Hu Shi's aesthetic thought, and makes a thorough study of the contemporary education. The aesthetic education is of guiding significance.
【學(xué)位授予單位】：安徽大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：I01

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