本文選題：高友工 + 抒情傳統(tǒng)�。� 參考：《浙江大學》2008年博士論文

【摘要】： 本文研究海外華人學者、美國普林斯頓大學教授高友工先生的中國抒情美學,為國內的中國美學史寫作提供可以借鑒的個案。長期以來,國內的中國美學史研究囿于方法論的局限,在總體研究態(tài)勢上未能超越文學批評的水平。而高友工從理論入手,融合西方現(xiàn)代美學的各派成果,發(fā)明了一套成熟的方法論體系,并將之用于中國抒情傳統(tǒng)的揭橥,確立了明確的美學史觀,在海外特別是美國、臺灣等地產(chǎn)生了巨大影響,追隨者甚眾。 高友工的中國抒情美學間架呈共時態(tài)理論建設與歷時態(tài)體類批評的縱橫交錯展開。他先從理論搭架,借西學之力,說明中國抒情傳統(tǒng)的美學意義,確立抒情傳統(tǒng)言說的基本途徑,并在此過程中,營構出一個似乎可以統(tǒng)貫中國美學主流,甚至兼容西方藝術概要的普適性的框架。在此基礎上,他發(fā)展出抒情論的核心觀念——象征,并以此為范式,推衍中國美學史上各個藝術體類的抒情理想:先秦樂論和漢魏六朝文論因其象征意義而被視為抒情傳統(tǒng)的萌芽;唐代律詩和書法被認為是意境和氣勢的各自體現(xiàn),分別代表了兩類不同的抒情美典;宋代的山水畫繼承了律詩的意境美學,水墨畫延續(xù)了草書的氣勢美學,而文人畫則被看成是意境與氣勢的結合,代表了抒情傳統(tǒng)的合流。 本文以為,高友工以改造下的結構語言學為核心組織容納各派學說,并以此作為中國美學研究的技術手段,在整體上很好地顯示了中國美學相較于西方美學的特殊性質,并對相關藝術現(xiàn)象做了行之有效的解釋;但與此同時,理論的先在性和立史的預設性導致他在美學史的許多具體細節(jié)上產(chǎn)生偏差:譬如,先秦樂論雖然論及象征,但此象征主要涉及統(tǒng)治者的集體意志而非個人的創(chuàng)作經(jīng)驗,并不符合以保存?zhèn)�人經(jīng)驗為目的的抒情美典;又如,律詩是一種音樂性藝術,最杰出的七律作品帶有強烈的歷史情境,在形式開顯中展開時空想像,并不指向抽象內涵的象征;再如,山水畫的散點透視是為了消除個人的視限,在意識中還原現(xiàn)象,而不是在心理空間中重構意象。由此可見,理論方法和比較視野固然重要,但材料考證和還原歷史語境是美學史研究更基本的要求,高友工的研究成果于此并不完善,在他的基礎上革故鼎新而超越之,可以推進中國美學史研究的進一步發(fā)展。
[Abstract]:This paper studies the Chinese lyric aesthetics of Gao Yougong, a professor of Princeton University and an overseas Chinese scholar, which provides a case study for Chinese aesthetic history writing. For a long time, the study of Chinese aesthetic history has been limited by methodology and failed to surpass the level of literary criticism in the overall research situation. On the other hand, Gao Yougong started from the theory, fused the various achievements of the western modern aesthetics, invented a set of mature methodology system, and applied it to the lyrical tradition of China, established a clear aesthetic historical view, overseas, especially in the United States, Taiwan and other places have had a huge impact, and many followers. Gao Yougong's interframe of Chinese lyric aesthetics is the staggered construction of the theory of syntenses and the criticism of chronological forms. He first set up the frame from the theory, borrowed the strength of western learning, explained the aesthetic significance of Chinese lyric tradition, established the basic way of lyrical tradition, and in the process, he constructed a mainstream of Chinese aesthetics that seems to be able to be unified. Even compatible with the universal framework of Western art synopsis. On this basis, he developed the core concept of lyricism, symbolism, and used it as a paradigm. The lyric ideals of various artistic genres in the history of Chinese aesthetics are discussed: the pre-Qin music theory and the Han Wei and six dynasties literary theories are regarded as the germination of lyric tradition because of their symbolic significance, and the legal poems and calligraphy of the Tang Dynasty are considered to be the respective embodiment of artistic conception and momentum. The landscape painting of Song Dynasty inherits the artistic conception aesthetics of legal poems, the ink painting continues the momentum aesthetics of cursive calligraphy, while the literati painting is regarded as the combination of artistic conception and momentum, representing the confluence of lyrical tradition. This paper holds that Gao Yougong takes the modified structural linguistics as the core organization to accommodate the various theories, and takes it as a technical means for the study of Chinese aesthetics, which, on the whole, shows the special nature of Chinese aesthetics in comparison with that of western aesthetics. At the same time, the presupposition of the theory leads him to deviate from many specific details in the history of aesthetics: for example, although the pre-Qin music theory deals with symbolism, However, this symbol mainly involves the collective will of the ruler, not the individual's creative experience, and does not conform to the lyrical beauty of preserving personal experience. For example, legal poetry is a musical art. The most outstanding works of the Seven laws have a strong historical situation. They unfold space-time imagination in form, and do not point to the symbol of abstract intension. For example, the scattered point perspective of landscape painting is to eliminate the individual's limitation and restore the phenomenon in consciousness. Instead of reconstructing images in mental space. It can be seen from this that theoretical methods and comparative perspectives are important, but textual research and restoration of historical context by materials are more basic requirements for the study of aesthetic history. Gao Yougong's research results are not perfect in this regard. On the basis of his innovation and transcendence, Gao Yougong's research results are not perfect. It can promote the further development of Chinese aesthetic history research.
【學位授予單位】：浙江大學
【學位級別】：博士
【學位授予年份】：2008
【分類號】：I01

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本文編號：2109502