从《拉奥孔》看朱光潜问题意识的转变——一个理论旅行视角

发布时间：2018-06-07 23:27

本文选题：朱光潜 + 《拉奥孔》　；参考：《美育学刊》2013年05期

【摘要】：在《无言之美》中,朱光潜将《拉奥孔》中纯形式的美阐释为表现的美,凸显个体解放的意义,体现出朱光潜希望以美学的方式解决人生问题的伦理意图与求善意识。在《诗论》中,朱光潜将《拉奥孔》的诗画关系,引申为对中国诗歌的类型特征的讨论,以美学的方式为中国古典经验寻求合法性。而在写作《西方美学史》前后,朱光潜对《拉奥孔》的翻译与阐释从历史唯物主义出发,将诗画关系还原到莱辛所处的德国启蒙运动的具体语境中去:美的本质最终落到历史唯物主义的上层建筑与经济基础之间的关系中。朱光潜的这一转变,既源于以"真实性"为追求的马克思主义外部作用,同时也是其美学自身学理逻辑演绎发展的结果。
[Abstract]:In the Beauty of Silence, Zhu Guangqian interprets the pure form of beauty in La O'kon as the beauty of expression, highlights the significance of individual liberation, and embodies Zhu Guangqian's ethical intention and consciousness of seeking good in order to solve life's problems in an aesthetic way. In Poetics, Zhu Guangqian extends the relationship between poetry and painting in La O'kon to discuss the type characteristics of Chinese poetry and to seek the legitimacy of Chinese classical experience in an aesthetic way. Before and after the writing of the History of Western Aesthetics, Zhu Guangqian's translation and interpretation of La O'kon are based on historical materialism. To restore the relationship between poetry and painting to the specific context of the German Enlightenment in which Lessing lived: the essence of beauty finally fell into the relationship between the superstructure of historical materialism and the economic foundation. This transformation of Zhu Guangqian originates not only from the external role of Marxism, which is pursued by "authenticity", but also from the development of its own theoretical logic of aesthetics.
【作者单位】：香港中文大学文化研究系;
【分类号】：B83-092

【共引文献】