学科内涵与话语方式:王朝闻与中国当代美学

Discipline Connotation and Way of Discourse:Wang Zhaowen and Contemporary Chinese Aesthetics

国内学界对于王朝闻在中国当代美学史上的地位存在争议,其实质在于对美学学科内涵和话语方式理解的分歧。上个世纪五六十年代的美学大讨论,奠定了当时对于中国当代美学总体框架的认知模式,王朝闻因未参加这次讨论而难以在其中准确定位,我们应在清除该认知模式中日丹诺夫哲学史定义影响的基础上予以重建。王朝闻熟练地运用逻辑思辨与诗性感悟两种话语方式而以后者为主,这不同于中国当代主流美学通行的话语方式,也在一定程度上制约了他在中国当代美学史上的影响。两种话语方式均跨越中西,利弊兼有,不可偏废。两者之间是可以流动的,没有不可逾越的界限。研究王朝闻与中国当代美学的关系,有助于破除我们僵化的思维定式,推动新世纪中国美学的多元发展。

Wang Zhaowen＇s position in contemporary Chinese aesthetic history is controversial in domestic acadenlic circles. The essence is the different understanding about the discipline connotation of aesthetic subject and the way of dis- course. Aesthetic argument from the 1950s to the 1960s laid the cognitive model of the overall framework of Chinese con- temporary aesthetics at that time. Wang Zhaowen did not participate in the argument so that it is difficult to find his position in the framework. We should rebuild the model on the basis of clearing the influence of Andrei Zhdanov＇s definition about philosophy history. Wang Zhaowen expertly used two ways of discourse, logical-speculative and poetic-sensitive, and gave priority to the latter. It was quite different from the way of discourse in contemporary Chinese mainstream aesthetics, and also partly restricted his influence in contemporary Chinese aesthetic history.. Two ways of discourse exist in both China and the west. Each has some advantages and shortcomings. There is no insurmountable boundary between the two. To study the relationship between Wang Zhaowen and contemporary Chinese aesthetics will promote the diversified development of Chinese aesthetics in the new century.