摘要
意象在朱光潜美学里,虽然从"形象""意象"到"物乙"等命名有变化,但是其本体性地位始终没变。朱光潜前期美学主要对意象进行哲理上的思考和心理上的分析,后期则受马克思主义理论的影响,从社会历史实践角度来阐释审美意象之生成。意象理论话语从"心物统一"到"主客统一"的转换,有其与时俱进性和内在精神的一致性,也有某些局限值得我们思考和探讨。
Although the concept of image altered from ＂form＂ to ＂imagery＂ and then to ＂substance B＂ in Zhu Guangqian＇s aesthetics, its ontological status has never been changed. Zhu Guangqian＇s early aesthetic study on !magery focused mainly on philosophical thinking and psychological analysis. Under the influence of Marxism, his later work elucidated the generation of imagery from the perspective of so- cial and historical practice. The conversion of imagery theory from ＂unity of mind and matter＂ to ＂unity of subject and object＂ has been in keeping with the times and maintains consistency for its internal spirit, with some limitations remaining for us to explore.
出处
《安徽大学学报（哲学社会科学版）》
CSSCI
北大核心
2016年第2期31-37,共7页
Journal of Anhui University(Philosophy and Social Sciences Edition)
基金
国家社会科学基金重点项目(11AZD052)
第56批中国博士后科学基金面上资助项目(2014M561431)
关键词
朱光潜
美学
意象理论
ZHU Guangqian
aesthetics
imagery theory
