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所谓五、六十年代美学“大辩论”,是美化当年学术环境的“潮流之作”。学界一般把当年美学大辩论的“学派”,分为主观派、客观派、主客观统一派、社会性与客观性统一派四大派,这几乎成了坚不可摧的定论。如果把当年“大辩论”中的芸芸众生,归为四大类,本来无不可,但将它们作为“学派”,则大失学术本色,亦不合乎历史事实。朱光潜的文艺思想与美学理论体系(尤其前期体系)是颇具特色的。其建构体系的路向是:以“出世——入世”的二极性人生态度(艺术形而上学)和现代多学科的实证知识(心理、生理、文学、历史——艺术生理学),去融汇西方哲人学说而形成的一个五彩缤纷、斑斓驳杂的美学理论体系。朱光潜建构体系的独特心灵历程,是中国现代知识份子寻求出路的一种艰难卓绝的尝试。
The so-called “grand debates” of aesthetics in the 1950s and 1960s are the “tunes” of beautifying the academic environment of that year. The academic community generally divides the “schools” of the grand debate on aesthetics into four major groups, ie the subjectivity, the objective school, the subjective and objective school of unification, and the social and objective unification camp, which have almost become the undeniable conclusion. If all the mortal beings in the “Grand Debate” of the year were categorized into four major categories, they all have their own ways. However, if they are regarded as “schools of thought,” they will lose their academic qualities and will not conform to historical facts. Zhu Guangqian’s literary thought and aesthetic theory system (especially the early system) is quite distinctive. The way to construct the system is to combine the two polar attitudes (art metaphysics) and modern multidisciplinary empirical knowledge (psychology, physiology, literature, history - art physiology) Doctrine and the formation of a colorful, colorful and miscellaneous aesthetic theory system. The unique spiritual course of Zhu Guangqian’s construction system is an arduous attempt by Chinese modern intellectuals to find a way out.