本文選題：情感本體　切入點(diǎn)：工具本體　出處：《首都師范大學(xué)》2005年碩士論文　論文類型：學(xué)位論文

【摘要】：李澤厚提出的“情感本體論”是其整個(gè)“實(shí)踐美學(xué)”思想發(fā)展的歸宿,標(biāo)志著其學(xué)術(shù)重心的轉(zhuǎn)移,意味著“實(shí)踐”被懸擱起來,轉(zhuǎn)而關(guān)注于個(gè)體、感性、生命、心理、情感。本文力求對“情感本體論”作如下探討: 第一部分主要概述了“情感本體論”的總體風(fēng)貌以及評論界對“情感本體論”的闡釋。(一)闡釋了“情感本體論”的總體風(fēng)貌。(二)闡明一些學(xué)者對“情感本體論”作出評價(jià)的比較有代表性的觀點(diǎn)。第二部分主要闡釋了李澤厚美學(xué)思想發(fā)展的理路及其“情感本體論”的成因。其中大體上包括四個(gè)方面的原因。內(nèi)部成因包括(一)對早期“美感矛盾二重性”的承續(xù),“情感”在形象思維和美感中逐步突出的地位。(二)文化心理結(jié)構(gòu)中審美的核心作用。(三)主體性實(shí)踐哲學(xué)體系的內(nèi)部矛盾。外部成因是(四)對劉曉波批判的回應(yīng)。由工具本體轉(zhuǎn)向心理(情感)本體,標(biāo)志著他的“實(shí)踐美學(xué)”思想的學(xué)術(shù)重心的轉(zhuǎn)移。這種表面上的跳躍式思維實(shí)際上是有其內(nèi)在發(fā)展的必然性的。第三部分主要描述了李澤厚本人賦予“情感本體論”的涵義。這一部分分為四個(gè)方面。(一)梳理并闡釋了“情感本體”。從美學(xué)維度是指1.新感性。2.審美心理結(jié)構(gòu)。3.先驗(yàn)共同感。4.生命力量。(二)闡釋了“情感本體”中“情感”的內(nèi)涵。1.“情感”表征著一種關(guān)系。2.“情感本體”所關(guān)涉的個(gè)體的人、人際、人類與藝術(shù)、宇宙等不同關(guān)系層面。(三)闡明了“情感本體”與審美的三種形態(tài),其中分為“悅耳悅目”、“悅心悅意”、“悅志悅神”三個(gè)層次。它們見證著心理(情感)本體的成長過程。(四)描述了“人的自然化”的“硬件”和“軟件”兩個(gè)部分�！叭说淖匀换笔恰扒楦斜倔w”的建立,是一個(gè)美學(xué)問題。第四部分主要闡述了“情感本體”的價(jià)值和意義。這一部分分三個(gè)方面。(一)闡述了“情感本體”的形而上和形而下兩個(gè)層面的指向以及人生藝術(shù)化和情感審美化的思想。1.“情感本體”在形而上的層面上是一種“悅神”的審美境界。在形而下層面上表現(xiàn)為日常生活的主觀體驗(yàn)。李澤厚試圖整合這兩個(gè)層面以達(dá)到圓融統(tǒng)一。但實(shí)際上,“情感本體”明顯地具有形而上和形而下兩個(gè)層面的指向。2.而“情感本體”之所以在形而上的層面上成為審美的人生境界和在形而下層面上表現(xiàn)為日常生活的主觀體驗(yàn),與他本人具有人生藝術(shù)化和情感審美化的思想傾向密不可分。(二)指明“情感本體”與
[Abstract]:The "emotional ontology" put forward by Li Zehou is the end result of his whole thought development of "practical aesthetics", which marks the shift of his academic center of gravity, which means that "practice" is suspended and focused on the individual, sensibility, life and psychology. Emotion. This paper tries to explore "emotional ontology" as follows:. The first part mainly summarizes the general style of "emotional ontology" and the interpretation of "emotional ontology" by critics. (I) explains the general style of "emotional ontology". (2) clarifies some scholars' views on "emotional ontology". The second part mainly explains the rational way of the development of Li Zehou's aesthetic thought and the cause of its "emotional ontology". Including (1) continuation of the early "contradictory duality of aesthetic feeling", "emotion" in image thinking and aesthetic sense gradually prominent position. (2) the core role of aesthetics in the cultural psychological structure. (3) subjective practical philosophy system. Internal contradictions. The external causes are (4) the response to Liu Xiaobo's criticism. The change from tool ontology to psychological (emotional) ontology, It marks the shift of academic center of thought of his "practical aesthetics". This kind of apparent leap thinking actually has its inherent necessity of development. The third part mainly describes the "emotion Noumenon" entrusted by Li Zehou himself. This part is divided into four aspects. (1) combing and explaining "emotion Noumenon". From the aesthetic dimension, it means 1. New sensibility. 2. Aesthetic psychological structure. 3. Transcendental common sense. 4. Life force. (2) expound the emotional text. The connotation of "emotion" in body ". 1." emotion "represents a kind of relationship .2.The individual involved in" emotional Noumenon ", Interpersonal, human and art, universe and other different levels of relations. (3) expounded the "emotional ontology" and aesthetic three forms, It is divided into three levels: "pleasing to the ear and pleasing to the eye", "to be happy with the heart" and "to be happy with the spirit". They witness the growth process of the psychological (emotional) ontology. (4) they describe the "hardware" and "software" of the "naturalization of human beings" "naturalization of human beings" is the establishment of "emotional ontology". Part 4th mainly expounds the value and significance of "emotional ontology". This part is divided into three aspects. (I) expounds the metaphysical and metaphysical orientation of "emotional Noumenon" and the direction of life. "emotion Noumenon" is a kind of aesthetic realm of "pleasing God" on the metaphysical level. At the lower level, it is the subjective experience of daily life. Li Zehou tries to integrate these two layers. In fact, the "emotional ontology" has obvious metaphysical and metaphysical orientation. And "emotional Noumenon" has become the aesthetic realm of life and form on the metaphysical level. At the lower level, it is the subjective experience of daily life, It is closely related to his ideological tendency of artistic life and emotional aesthetic. (2) it is pointed out that "emotional Noumenon" and "emotional Noumenon" are closely related to
【學(xué)位授予單位】：首都師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2005
【分類號】：B83-092

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 羅紱文;李澤厚“情本體”思想研究[D];西南大學(xué);2011年

相關(guān)碩士學(xué)位論文 前1條

1 趙炯俊;試論李澤厚“情感本體”美學(xué)思想[D];山西師范大學(xué);2010年

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本文編號：1605534