王國(guó)維、朱光潛悲劇理論之審辨
發(fā)布時(shí)間：2019-04-29 20:52
【摘要】：本文通過對(duì)王國(guó)維、朱光潛的悲劇理論進(jìn)行分析和述評(píng)，在20世紀(jì)中國(guó)美學(xué)的現(xiàn)代性傳統(tǒng)背景下對(duì)兩者進(jìn)行比較研究。 悲劇論是王國(guó)維和朱光潛早期美學(xué)研究的重要領(lǐng)域。本文前兩部分首先對(duì)王國(guó)維和朱光潛的悲劇學(xué)說分別進(jìn)行述評(píng)。王國(guó)維是引入西方哲學(xué)和美學(xué)理論對(duì)中國(guó)文學(xué)作品進(jìn)行評(píng)論的第一人。通過對(duì)王國(guó)維早期論著的研究，作者認(rèn)為王國(guó)維的多篇著作中都表露了對(duì)悲劇的看法，其思想深受叔本華等西方理論家的影響，但卻并非沒有選擇、改造和拒絕的全盤照搬。而且，王國(guó)維在對(duì)中國(guó)文學(xué)作品和作家的評(píng)論中，創(chuàng)造性地用一組概念表述了對(duì)悲劇的起源與本質(zhì)、悲劇的美感屬性、悲劇的價(jià)值與效用，悲劇人生觀等內(nèi)容的看法。他的悲劇理論富有形而上意味，雖未形成體系，但卻極有創(chuàng)見性。 朱光潛是繼王國(guó)維之后對(duì)悲劇進(jìn)行深入研究的現(xiàn)代美學(xué)家。他從純粹理論的角度分析研究悲劇美感問題，與同時(shí)代的文藝家主要重視悲劇的社會(huì)政治功用有明顯差別。通過批判吸收各種西方悲劇學(xué)說，，朱光潛自覺運(yùn)用心理學(xué)美學(xué)的方法建立了自己的一套初具體系的悲劇理論。但是朱光潛的悲劇理論仍然與哲學(xué)觀念和哲學(xué)方法密切相關(guān)，本文重點(diǎn)考察了朱光潛的悲劇學(xué)說與尼采美學(xué)的關(guān)系，指出朱氏的《悲劇心理學(xué)》受到了尼采《悲劇的誕生》的深刻影響。 本文的第三部分結(jié)合西學(xué)東漸及中國(guó)現(xiàn)代美學(xué)的發(fā)生這一背景對(duì)王國(guó)維、朱光潛的悲劇理論進(jìn)行比較。盡管王、朱兩人的悲劇理論不存在事實(shí)上的影響關(guān)系，但卻在理論的出發(fā)點(diǎn)、方法論特點(diǎn)以及一些具體觀念內(nèi)容上存在某些共同傾向，顯示出他們對(duì)待傳統(tǒng)文化和西方學(xué)術(shù)與同代學(xué)人不同之處。在指出王、朱悲劇理論所具的類同性的同時(shí)，本文同時(shí)辨析兩者的差異性特點(diǎn)，認(rèn)為兩人在融合、溝通中西美學(xué)的基礎(chǔ)上產(chǎn)生的悲劇理論既有不可取代的特色，又具有互補(bǔ)性，共同豐富了中國(guó)現(xiàn)代文藝美學(xué)理論，為我們反思和總結(jié)中國(guó)現(xiàn)代美學(xué)形成和發(fā)展中的所得和所失提供了有益的啟示。
[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.
【學(xué)位授予單位】：貴州師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：I01
本文編號(hào)：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.
【學(xué)位授予單位】：貴州師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2004
【分類號(hào)】：I01
【引證文獻(xiàn)】
相關(guān)碩士學(xué)位論文 前2條
1 王要有;王國(guó)維《紅樓夢(mèng)評(píng)論》的悲劇思想探究[D];景德鎮(zhèn)陶瓷學(xué)院;2010年
2 陶洋;朱光潛悲劇美學(xué)分析[D];遼寧大學(xué);2013年
本文編號(hào)：2468522
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