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  本文關(guān)鍵詞： 精神 藝術(shù) 本體論 生命 意義　出處：《吉林大學(xué)》2002年博士論文　論文類型：學(xué)位論文

【摘要】：思想家們之所以不曾放棄對藝術(shù)的思考,不僅因為藝術(shù)作為人類文化的普遍形式之一在現(xiàn)實生活中發(fā)揮著重要的作用,而且還在于藝術(shù)那種追尋生命意義、探索生命永恒的本體精神融入人類的文化創(chuàng)造之中,使人類走向未來之路。目前,關(guān)于藝術(shù)精神問題的討論取得一些成果,對于人們了解和研究藝術(shù)精神問題具有重要的啟發(fā)和借鑒的意義,但是,我們也應(yīng)當看到當下對于藝術(shù)精神的研究還存在著明顯的缺陷和不足。傳統(tǒng)的對藝術(shù)精神的認識基本還是建立在認識論基礎(chǔ)上的討論,沒有探討藝術(shù)精神構(gòu)成的哲學(xué)基礎(chǔ),因而也沒有為藝術(shù)精神建立起本體論的理論前提,因而也不能說明藝術(shù)何以能夠為人的生命提供意義的支撐的問題。 本文試圖從生命本體論出發(fā)將藝術(shù)精神作為本體的承諾,以歷史上思想家對藝術(shù)問題的論述為背景,集中闡釋了“藝術(shù)精神應(yīng)當何為”的問題。本文考察了藝術(shù)精神的變化的歷史,初步清理了當代西方美學(xué)關(guān)于“藝術(shù)本質(zhì)論”轉(zhuǎn)向問題的癥結(jié)所在,指出了這種轉(zhuǎn)向仍是一項沒有終結(jié)的美學(xué)使命。本文在把藝術(shù)精神作為藝術(shù)本質(zhì)的否定面進行了認真的梳理和建構(gòu)的同時,對藝術(shù)精神和生命精神的內(nèi)在統(tǒng)一性、藝術(shù)精神的真善美相統(tǒng)一的本體構(gòu)成以及藝術(shù)精神本體的嬗變與整合、藝術(shù)精神重建的當代形態(tài)及意義加以本體論的闡釋,試圖為當代藝術(shù)的發(fā)展提供本體論的理論基礎(chǔ)。
[Abstract]:The thinkers never give up their thinking about art, not only because art, as one of the universal forms of human culture, plays an important role in real life, but also in the pursuit of life meaning of art. Explore the eternal essence of life into the creation of human culture, so that the human race to the future. At present, the discussion of the artistic spirit has achieved some results. For people to understand and study the spirit of art has an important inspiration and reference significance, but. We should also see that there are still obvious defects and deficiencies in the present study of artistic spirit. The traditional understanding of artistic spirit is still based on epistemology. There is no philosophical basis for the formation of artistic spirit and therefore no theoretical premise of ontology for artistic spirit. Therefore it is not possible to explain why art can provide support for human life. This article attempts to take the artistic spirit as the Noumenon commitment from the life ontology, taking the historical thinker's exposition to the art question as the background. This paper focuses on the question of "what the artistic spirit should be". This paper examines the history of the change of the artistic spirit and preliminarily clears the crux of the turning problem of contemporary western aesthetics about the "artistic essence theory". This paper points out that this turn is still an aesthetic mission with no end. This paper takes the artistic spirit as the negation of the essence of art and makes a serious arrangement and construction at the same time. The internal unity of the artistic spirit and the life spirit, the unity of the truth, the goodness and the beauty of the artistic spirit, and the evolution and integration of the artistic spirit ontology. The contemporary form and significance of the reconstruction of artistic spirit are explained by ontology in an attempt to provide the theoretical basis of ontology for the development of contemporary art.
【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2002
【分類號】：J0

【引證文獻】

相關(guān)博士學(xué)位論文 前1條

1 何艷珊;老子音樂美學(xué)思想與相關(guān)藝術(shù)審美[D];中央音樂學(xué)院;2011年

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本文編號：1450640