摘要
"审美意识"是美学研究的重要对象,从这一角度书写美学史,一方面可以避免20世纪八九十年代美学史书写中"只见树木不见森林"的弊端,另一方面也相异于新世纪兴起的审美文化史,防止陷入泛化的文化研究的泥沼,从而强调或回归美学研究中"人"的维度。朱志荣主编的《中国审美意识通史》以意象创构为明线、以生命意识为暗线,并将"美是意象"的本体论观点加以具体化,形成了一部具有明显倾向性的美学史。朱志荣的本体论观点有继续商榷的空间,其对"意象"和"生命"的强调可以追溯到朱光潜、宗白华、叶朗、汪裕雄等人的理论中。同时,该书亦存在观点零散化、言说方式雷同等方面的不足。
“Aesthetic consciousness” is an important object of aesthetic research.Aesthetic history writing from this perspective can emphasize or help returning to the dimension of “human” in aesthetic research,and avoid “only seeing trees but not forest” in the writing in the 1980s and 1990s.Moreover,it is also different from the writing in the new century.The General History of Chinese Aesthetic Consciousness,edited by Zhu Zhirong,foregrounds image creation with life consciousness as the background,and concretizes the ontological viewpoint of “eauty is image”,thus forming an aesthetic history with obvious tendencies.However,Zhu Zhirong's ontological viewpoint needs further discussion.His emphasis on “image” and “life” can be traced back to theories of Zhu Guangqian,Zong Baihua,Ye Lang and Wang Yuxiong.Meanwhile,the book also has such shortcomings as scattered views and too many repetitions.
出处
《上海文化》
CSSCI
2019年第8期124-132,158-159,共10页
Shanghai Culture
基金
国家社科基金重大项目“传统礼乐文明与当代文化建设研究”（项目号：17ZD03）
国家社科基金项目“中国古代乐论与文论的关系谱系研究”（项目号：14CZW001）
黑龙江省普通高校青年创新人才培养计划项目“辽金元音乐文学及其理论形态研究”（项目号：UNPYSCT-2015055）
黑龙江省博士后科研启动项目“中国古代乐论视域下的古典美学范畴形成、建构研究”的阶段性成果
