本文選題：朱光潛 + 美學(xué)轉(zhuǎn)向��； 參考：《湖南理工學(xué)院》2017年碩士論文

【摘要】：朱光潛美學(xué)歷程存在一種明顯的現(xiàn)象:他解放前主要以認(rèn)識(shí)論為基礎(chǔ),建國(guó)后逐漸轉(zhuǎn)向?qū)嵺`美學(xué)。解放前,他受西方近現(xiàn)代美學(xué)影響,引進(jìn)西方心理學(xué)美學(xué),形成認(rèn)識(shí)論傾向;建國(guó)后,特別是1950年代“美學(xué)大討論”后,他逐漸轉(zhuǎn)向馬克思主義美學(xué),形成精神實(shí)踐論美學(xué)。馬克思主義實(shí)踐觀是朱光潛美學(xué)轉(zhuǎn)向的關(guān)鍵,對(duì)科學(xué)和真理的追求是其美學(xué)轉(zhuǎn)向的主要?jiǎng)右�。朱光潛美學(xué)轉(zhuǎn)向主要體現(xiàn)在美的本質(zhì)論、美感論和藝術(shù)論等方面。從美的本質(zhì)論轉(zhuǎn)向看,他前期認(rèn)為美在“心與物的關(guān)系上”,后期認(rèn)為美是“主客觀的統(tǒng)一”,認(rèn)識(shí)到美是實(shí)踐的產(chǎn)物,美的本質(zhì)具有社會(huì)性,他從馬克思主義美學(xué)認(rèn)識(shí)論轉(zhuǎn)向?qū)嵺`美學(xué),跳出了原有的認(rèn)識(shí)論框架。從美感論轉(zhuǎn)向看,他前期認(rèn)為美感產(chǎn)生于“形象的直覺(jué)”,后期認(rèn)為美感是“人的本質(zhì)力量對(duì)象化”過(guò)程中的樂(lè)趣,這一轉(zhuǎn)向是他對(duì)主客觀二元對(duì)立局面的突破,認(rèn)識(shí)到美感產(chǎn)生于生產(chǎn)勞動(dòng)過(guò)程中。從藝術(shù)論轉(zhuǎn)向看,他前期認(rèn)為藝術(shù)是“意象化的情感”,后期認(rèn)為藝術(shù)是“生產(chǎn)勞動(dòng)的對(duì)象”,隨著他對(duì)主觀認(rèn)識(shí)的消解,藝術(shù)創(chuàng)造回歸到實(shí)踐過(guò)程中�？傮w而言,朱光潛美學(xué)轉(zhuǎn)向的成功之處在于促進(jìn)了中國(guó)當(dāng)代美學(xué)的發(fā)展,尤其是推進(jìn)了實(shí)踐美學(xué)的發(fā)展,但也存在一定的理論局限。
[Abstract]:There is an obvious phenomenon in the aesthetic course of Zhu Guangqian: before his liberation, he was mainly based on epistemology and gradually turned to practical aesthetics after the founding of the people's Republic of China. Before liberation, he was influenced by modern western aesthetics and introduced western psychological aesthetics to form epistemological tendency. After the founding of the people's Republic of China, especially after the great discussion of aesthetics in 1950s, he gradually turned to Marxist aesthetics and formed spiritual practical aesthetics. Marxist view of practice is the key of Zhu Guangqian's aesthetic turn, and the pursuit of science and truth is the main cause of its aesthetic turn. Zhu Guangqian's aesthetic turn is mainly embodied in the essence of beauty, aesthetic sense and art theory. From the point of view of the essence of beauty, he thinks that beauty is "the relationship between mind and object" in the early stage, and that the beauty is "the unity of the subject and the objective" in the latter stage, realizing that beauty is the product of practice and that the essence of beauty is social. From Marxist aesthetic epistemology to practical aesthetics, he jumped out of the original framework of epistemology. From the point of view of aesthetic theory, he thinks that aesthetic feeling comes from "image intuition" in the early stage, and that aesthetic feeling is the fun in the process of "objectification of human essential power" in later stage. This turn is his breakthrough to the dualistic situation of subjective and objective opposition. Realize that aesthetic sense comes from the process of production and labor. From the perspective of art theory, he thinks that art is "the emotion of imagery" in the early stage, and that art is "the object of production and labor" in the latter stage. With the dissolving of his subjective understanding, artistic creation returns to the process of practice. In general, the success of Zhu Guangqian aesthetic turn lies in promoting the development of contemporary Chinese aesthetics, especially the development of practical aesthetics, but there are some theoretical limitations.
【學(xué)位授予單位】：湖南理工學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I01

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