本文關(guān)鍵詞：康德與中國(guó)現(xiàn)代美學(xué)思想　出處：《中國(guó)社會(huì)科學(xué)院研究生院》2001年博士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 康德美學(xué) 中國(guó)現(xiàn)代美學(xué) 現(xiàn)代性 審美無利害

【摘要】： 在文化現(xiàn)代化的語境里，本文闡述了傳統(tǒng)美學(xué)范式的現(xiàn)代性轉(zhuǎn)化，從而為論文的展開預(yù)設(shè)了理論的背景。本文從宏觀的角度審視了康德美學(xué)在中國(guó)的百年歷程，概觀了中國(guó)美學(xué)中的康德美學(xué)，，論述了形式主義美學(xué)對(duì)傳統(tǒng)美學(xué)思維方式的改造。 從康德美學(xué)與中國(guó)現(xiàn)代美學(xué)的關(guān)系出發(fā)，本文闡釋了康德美學(xué)的中國(guó)化過程及其意義，揭示出康德美學(xué)對(duì)現(xiàn)代美學(xué)的深刻影響。論文以三個(gè)命題闡述康德美學(xué)與中國(guó)現(xiàn)代美學(xué)的內(nèi)在關(guān)聯(lián)：首先，回溯審美無利害的歷史，結(jié)合中國(guó)傳統(tǒng)美學(xué)，從審美態(tài)度、藝術(shù)獨(dú)立的角度闡明審美無利害命題的重要作用，審美無利害性既奠定了現(xiàn)代美學(xué)學(xué)術(shù)的獨(dú)立性，又揭示出現(xiàn)代美學(xué)的基本性質(zhì)與特征；其次，詮釋康德美學(xué)中的審美自由概念，在現(xiàn)代美學(xué)的語境中闡釋了“美是道德的象征”的命題，同時(shí)闡明審美游戲與美育的自由特征，審美自由顯示出現(xiàn)代美學(xué)的超越精神和烏托邦精神；第三，藝術(shù)的人生觀或者人生的藝術(shù)化將藝術(shù)與人生緊密地聯(lián)系起來，審美人生展示出現(xiàn)代美學(xué)的審美理想，成為現(xiàn)代美學(xué)的價(jià)值歸宿。 在民族困境的歷史背景下，本文解釋了現(xiàn)代美學(xué)與宗教之間的復(fù)雜關(guān)系，同時(shí)闡明現(xiàn)代美學(xué)的啟蒙精神。本文最后反省了現(xiàn)代美學(xué)的學(xué)術(shù)道路，為美學(xué)的未來指出一條可能的道路。
[Abstract]:In the context of cultural modernization, this paper expounds the modern transformation of the traditional aesthetic paradigm, thus presupposing the theoretical background for the development of the thesis. This paper examines the century-old history of Kant's aesthetics in China from a macro perspective. This paper reviews Kant's aesthetics in Chinese aesthetics and discusses the transformation of formalism aesthetics to traditional aesthetic thinking mode. Starting from the relationship between Kant's aesthetics and modern Chinese aesthetics, this paper explains the process and significance of Kant's aesthetics in China. It reveals the profound influence of Kant's aesthetics on modern aesthetics. This paper expounds the inner relationship between Kant's aesthetics and Chinese modern aesthetics with three propositions: first, looking back on the history of aesthetics without interest, combining with Chinese traditional aesthetics. From the angle of aesthetic attitude and artistic independence, this paper expounds the important role of the proposition of aesthetic non-interest, which not only establishes the academic independence of modern aesthetics, but also reveals the basic nature and characteristics of modern aesthetics. Secondly, it interprets the concept of aesthetic freedom in Kant's aesthetics, explains the proposition that "beauty is the symbol of morality" in the context of modern aesthetics, and clarifies the free characteristics of aesthetic play and aesthetic education. Aesthetic freedom shows the transcendental spirit and utopian spirit of modern aesthetics. Third, the artistic outlook on life or the artistry of life closely links art with life, and aesthetic life shows the aesthetic ideal of modern aesthetics and becomes the value end-result of modern aesthetics. In the historical background of national dilemma, this paper explains the complex relationship between modern aesthetics and religion, and expounds the enlightenment spirit of modern aesthetics. Finally, this paper reflects on the academic path of modern aesthetics. Point out a possible path for the future of aesthetics.
【學(xué)位授予單位】：中國(guó)社會(huì)科學(xué)院研究生院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2001
【分類號(hào)】：B83

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 徐軼;;淺論康德的無目的而合目的——從康德的美學(xué)角度看“流浪漢”形象的演變[J];青春歲月;2010年20期

相關(guān)碩士學(xué)位論文 前1條

1 于m8;中國(guó)現(xiàn)代美學(xué)中“藝術(shù)”概念的演變[D];四川師范大學(xué);2009年

本文編號(hào)：1397071