本文選題：李澤厚 + 主體性��； 參考：《廈門大學(xué)》2007年碩士論文

【摘要】： 目前,學(xué)術(shù)界關(guān)于李澤厚美學(xué)思想的評論文章可謂汗牛充棟、層出不窮,然而形成系統(tǒng)研究的論著并不多見。時(shí)下,美學(xué)界針對李澤厚本人的主體性實(shí)踐美學(xué)思想以及以他為代表的實(shí)踐美學(xué)的爭論和探討仍有方興未艾之勢。因此,系統(tǒng)地研究、分析和評價(jià)李澤厚美學(xué)思想體系在當(dāng)今新一輪的美學(xué)大探討中就顯得十分重要了。 李澤厚的美學(xué)思想發(fā)端、發(fā)展于上個(gè)世紀(jì)的兩場美學(xué)大討論中,并從此在中國美學(xué)界占據(jù)了主流地位,以其為代表的實(shí)踐美學(xué)陣營也日益壯大和日臻完善,在中國美學(xué)界產(chǎn)生了半個(gè)多世紀(jì)的廣泛而深刻的影響。時(shí)代環(huán)境的熏陶、豐富的理論資源的借鑒和吸收以及個(gè)人獨(dú)特的學(xué)術(shù)探索,使李澤厚的美學(xué)思想在經(jīng)歷了三個(gè)時(shí)期的改進(jìn)后趨于完善。從20世紀(jì)50年代至今,他提出了“自然的人化”、“積淀”、“主體性”、“人的自然化”與“情本體”等重要范疇,建構(gòu)了一個(gè)涉及美——美感——藝術(shù)三大塊的理論邏輯框架,從而形成了一個(gè)既具有共時(shí)性又具有歷時(shí)性的縱橫捭闔的美學(xué)體系。 當(dāng)然,李澤厚的美學(xué)體系并非無懈可擊,他美學(xué)思想中的理性化、現(xiàn)實(shí)化、物質(zhì)化、非個(gè)性化、實(shí)體化、客體化的傾向以及其理論自身所體現(xiàn)出來的五重矛盾(即哲學(xué)觀念的一元化與方法多元化的矛盾;把人類學(xué)混同于美學(xué)的矛盾;工具本體與心理本體(情本體)的矛盾;積淀說內(nèi)部的理性與感性、群體與個(gè)體的矛盾;人類中心與世界共存的矛盾)均遭到了包括實(shí)踐美學(xué)陣營在內(nèi)的不同學(xué)術(shù)派別的眾多學(xué)者的質(zhì)疑和駁難。面對這種情況,李澤厚一方面進(jìn)行了回應(yīng)和辯護(hù),另一方面也進(jìn)行了深入的反思,探索出了一系列解決方案,尤其是后期提出了“人的自然化”和“情本體”以彌補(bǔ)其早期的“自然的人化”和“工具本體”的過度膨脹所導(dǎo)致的人與自然的關(guān)系的疏遠(yuǎn)甚至惡化。然而,他美學(xué)思想中固有的矛盾并沒有因?yàn)檫@兩個(gè)范疇的提出而得到解決,相反,還滋生了一系列新的矛盾,“人的自然化”和“自然的人化”、“情本體”與“積淀”說無論是在理論邏輯上還是在現(xiàn)實(shí)中都難以調(diào)和,而“情本體”這個(gè)概念本身的過于寬泛又使其難以擔(dān)當(dāng)人生本體之重任,其現(xiàn)實(shí)可行性仍有待考察。 盡管李澤厚的主體性實(shí)踐美學(xué)思想仍然存在著諸多弊端和缺陷,但是綜觀他美學(xué)思想的發(fā)生、發(fā)展和改進(jìn)的全過程,尤其是貫串其美學(xué)體系始終的對審美的實(shí)踐基礎(chǔ)的堅(jiān)持,對主體理性精神的追求以及其理論中體現(xiàn)出來的堅(jiān)實(shí)而又厚重的歷史感等,他對中國的美學(xué)發(fā)展所作出的貢獻(xiàn)還是有目共睹的。另外,他本人深厚扎實(shí)的學(xué)問和深切的人文關(guān)懷以及對中國美學(xué)的現(xiàn)代轉(zhuǎn)型所做的孜孜不倦的努力更讓人欽佩。在他的引領(lǐng)下,越來越多的學(xué)者將繼續(xù)探索和研究他遺留下來的美學(xué)問題,共同開創(chuàng)中國現(xiàn)代美學(xué)嶄新的明天。
[Abstract]:At present, the academic criticism about Li Zehou's aesthetic thought can be described as superfluous and endless, but there are few papers that form systematic research. Nowadays, the debate and discussion of Li Zehou's subjective practical aesthetics and his practical aesthetics are still in the ascendant. Therefore, it is very important to systematically study, analyze and evaluate the Li Zehou aesthetic thought system in the new round of aesthetic discussion. Li Zehou's aesthetic thought originated from two great aesthetic discussions in the last century, and since then it has occupied the mainstream position in the field of aesthetics in China. The camp of practical aesthetics represented by Li Zehou has also been growing and improving day by day. It has had a profound and extensive influence in the field of Chinese aesthetics for more than half a century. The influence of the environment of the times, the reference and absorption of abundant theoretical resources and the individual unique academic exploration make Li Zehou's aesthetic thought perfect after three periods of improvement. From the 1950s to the present, he put forward some important categories, such as "humanization of nature", "accumulation", "subjectivity", "naturalization of human beings" and "Noumenon of feelings". This paper constructs a theoretical logic frame involving three chunks of beauty-aesthetic feeling-art, and thus forms an aesthetic system of both synchronic and diachronic manipulation. Of course, Li Zehou's aesthetic system is not impeccable, his aesthetic thought is rational, realistic, materialized, non-individualized and materialized. The tendency of objectification and the five contradictions embodied in its theory itself (namely, the contradiction between the unity of philosophical concepts and the diversity of methods, the contradiction between anthropology and aesthetics, the contradiction between tool ontology and psychological ontology), and the contradiction between anthropology and psychological Noumenon (emotional Noumenon); The internal rationality and sensibility the contradiction between group and individual and the contradiction between human center and the world have been questioned and refuted by many scholars of different academic schools including the camp of practical aesthetics. In the face of this situation, on the one hand, Li Zehou responded and defended, on the other hand, he also carried out in-depth reflection and explored a series of solutions. Especially in the later period, the author put forward "naturalization of man" and "Noumenon of emotion" in order to make up for the alienation and even deterioration of the relationship between man and nature caused by the excessive expansion of "natural humanization" and "instrumental ontology" in his early period. However, the inherent contradiction in his aesthetic thought has not been solved because of these two categories. On the contrary, a series of new contradictions have been created, that is, "naturalization of man" and "humanization of nature". The theory of "emotion Noumenon" and "accumulation" are difficult to reconcile either in theory logic or in reality, but the concept of "emotion Noumenon" itself is too broad and makes it difficult to bear the responsibility of life Noumenon, and its practical feasibility still needs to be investigated. Although there are still many drawbacks and defects in Li Zehou's subjective practical aesthetic thought, the whole process of its occurrence, development and improvement, especially the persistence of its aesthetic system to the practical basis of aesthetics, is summarized. His contribution to the development of Chinese aesthetics is evident from his pursuit of the spirit of subjective reason and the solid and heavy sense of history embodied in his theory. In addition, his deep and solid knowledge, deep humanistic concern and his tireless efforts in the modern transformation of Chinese aesthetics are even more admirable. Under his guidance, more and more scholars will continue to explore and study the aesthetic problems left over by him, and jointly create a new future for Chinese modern aesthetics.
【學(xué)位授予單位】：廈門大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2007
【分類號】：B83-092

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前2條

1 羅紱文;李澤厚“情本體”思想研究[D];西南大學(xué);2011年

2 牟方磊;李澤厚“情本體論”研究[D];湖南師范大學(xué);2013年

相關(guān)碩士學(xué)位論文 前4條

1 宋婷;和諧社會(huì)視閾下當(dāng)代中國馬克思主義美學(xué)思想研究[D];長安大學(xué);2012年

2 郭笑天;朱光潛與李澤厚美感學(xué)說的比較[D];山西師范大學(xué);2013年

3 李成龍;李澤厚的傳統(tǒng)文化觀[D];湘潭大學(xué);2012年

4 馬鈺瀅;李澤厚近二十年美學(xué)思想的變化與堅(jiān)守[D];暨南大學(xué);2013年

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本文編號：1879420