【摘要】：傳統(tǒng)西方美學(xué)講究"心———物"兩分法,各歷史時(shí)期的各派美學(xué)都重在探求"心———物"之間的關(guān)系以及"心"如何觀照、反映"物",直至20世紀(jì),西方美學(xué)界才形成對(duì)"心———物"交融美學(xué)問(wèn)題普遍關(guān)注的傾向。朱光潛一直在進(jìn)行著消解"心"與"物"對(duì)峙,在"心"與"物"交融的契合點(diǎn)上尋找美學(xué)真諦的努力,盡管,在中國(guó)特殊的歷史時(shí)期,他的努力———他美學(xué)思想階段性的呈現(xiàn):先是推崇"形象直覺(jué)";后又從"意識(shí)形態(tài)論"入手,探究美與美感問(wèn)題;最后在馬克思主義實(shí)踐論基礎(chǔ)上確立"主客觀相統(tǒng)一"的美學(xué)命題———帶有明顯的歷史痕跡,但他始終沒(méi)有放棄他的追求。在現(xiàn)代西方美學(xué)家殫精竭慮欲探詢的主體與客體、存在與顯現(xiàn)、意義與理解等
[Abstract]:The traditional western aesthetics stresses the dichotomy of "mind and matter". The aesthetics of each historical period focuses on exploring the relationship between "mind and matter" and how the "mind" reflects "things" until the 20th century. The western aesthetic circles have a tendency to pay close attention to the aesthetic problems of the blending of mind and matter. Zhu Guangqian has been making efforts to resolve the confrontation between "heart" and "thing" and to find the true meaning of aesthetics on the point where "heart" and "thing" blend, although, in the special historical period of China, His efforts-his aesthetic thoughts are presented in stages: firstly, "image intuition" is respected; Finally, on the basis of Marxist theory of practice, he established the aesthetic proposition of "unity of subjectivity and objectivity" with obvious historical traces, but he never gave up his pursuit. In modern western aestheticians, they are trying their best to inquire about the subject and object, existence and manifestation, meaning and understanding, etc.
【作者單位】： 遼寧大學(xué)文化傳播學(xué)院
【分類號(hào)】：B83-092

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1 王純菲;消解“心”與“物”對(duì)峙的努力——朱光潛美學(xué)思想再思考[J];遼寧大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2004年01期

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