發(fā)布時(shí)間：2018-06-22 17:38

  本文選題：內(nèi)審美 + 超驗(yàn)��； 參考：《學(xué)術(shù)月刊》2008年05期

【摘要】：王建疆認(rèn)為,中國(guó)古代審美的民族傳統(tǒng)或民族識(shí)別標(biāo)志是內(nèi)審美,即一種不同于具有外在對(duì)象和外在感官參與的內(nèi)在精神境界型、內(nèi)景型、想象型的審美。這種內(nèi)審美具有深厚的歷史文化根源,并對(duì)外在感官型審美產(chǎn)生抑制和提升的作用;其功能在于提升人生境界,實(shí)現(xiàn)人格的完善。這種內(nèi)審美與西方的超驗(yàn)審美相比,具有同時(shí)涵蓋先驗(yàn)審美和經(jīng)驗(yàn)審美的特點(diǎn)。現(xiàn)代審美困惑的根源在于這種內(nèi)審美的被遮蔽和被遺忘,從而導(dǎo)致所謂"審美和藝術(shù)的救贖"的不可能實(shí)現(xiàn)。審美的救贖首先在于自救,在于恢復(fù)內(nèi)審美的優(yōu)良傳統(tǒng)。閻國(guó)忠通過從西方美學(xué)史傳統(tǒng)中對(duì)超驗(yàn)美的關(guān)注由集中到分散,再到被忘記,現(xiàn)在又受到重視的歷史的回顧,指出西方美學(xué)的真正傳統(tǒng)離不開超驗(yàn)的美。這種超驗(yàn)的美在一個(gè)充分感官化和欲望化了的時(shí)代是非常需要的,超驗(yàn)美的存在也是美學(xué)之謂美學(xué)的根本價(jià)值所在。王元驤認(rèn)為,西方美學(xué)思想史上有亞里士多德、柏拉圖兩大傳統(tǒng)。前者倡導(dǎo)的是經(jīng)驗(yàn)性、外觀性的審美,后者倡導(dǎo)的是超驗(yàn)性、內(nèi)省性的審美。由于近代西方哲學(xué)是在自然科學(xué)的影響下而發(fā)展起來(lái)的知識(shí)論、認(rèn)識(shí)論哲學(xué),這使得亞里士多德的傳統(tǒng)在近代西方美學(xué)思想史上占據(jù)明顯的優(yōu)勢(shì),但同時(shí)柏拉圖的傳統(tǒng)也從未終止。今天,我們?cè)隈R克思主義實(shí)踐論美學(xué)的基礎(chǔ)上把兩大系統(tǒng)加以融合,不僅有助于對(duì)美學(xué)學(xué)科作出正確的定位,拓展美學(xué)研究的領(lǐng)域,而且也是通過與中國(guó)傳統(tǒng)美學(xué)思想開展對(duì)話、走向融合,實(shí)現(xiàn)美學(xué)民族化的一條切實(shí)而有效的途徑。
[Abstract]:Wang Jianjiang thinks that the national tradition or national identification mark of ancient Chinese aesthetics is internal aesthetics, that is, it is different from the inner spiritual realm type, the internal scene type, and the imaginative type, which are different from the external objects and external senses. This kind of internal aesthetic has deep historical and cultural roots, and it has the function of restraining and promoting the external sensual aesthetic, and its function is to improve the realm of life and realize the perfection of personality. Compared with western transcendental aesthetics, this kind of internal aesthetics has the characteristics of both transcendental aesthetics and experiential aesthetics. The root of modern aesthetic confusion lies in the obscuring and forgetting of internal aesthetics, which leads to the impossibility of realizing the so-called "aesthetic and artistic salvation". Aesthetic salvation lies first in self-saving and in restoring the fine tradition of internal aesthetics. Yan Guozhong points out that the real tradition of western aesthetics can not be separated from transcendental beauty by reviewing the history of western aesthetic history from focusing on transcendental beauty to being forgotten and now being paid attention to. This transcendental beauty is very necessary in an era of full sensualization and desire, and the existence of transcendental beauty is also the fundamental value of aesthetics. Wang Yuanxiang believes that there are two traditions in the history of western aesthetic thought: Aristotle and Plato. The former advocates the aesthetic of experience and appearance, while the latter advocates the aesthetic of transcendence and introspection. Because modern western philosophy is the knowledge theory and epistemological philosophy developed under the influence of natural science, this makes Aristotle's tradition occupy the obvious superiority in the modern western aesthetic thought history. But at the same time, Plato's tradition never ended. Today, we combine the two systems on the basis of Marxist practical aesthetics, which is not only helpful to make a correct positioning of aesthetic disciplines, but also to expand the field of aesthetic research. It is also a practical and effective way to realize the nationalization of aesthetics through dialogue with Chinese traditional aesthetics.
【作者單位】： 西北師范大學(xué)文學(xué)院;
【分類號(hào)】：B83-0

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