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高尔泰艺术观研究

发布时间:2018-05-02 09:20

  本文选题:艺术观 + 情感 ; 参考:《首都师范大学》2012年硕士论文


【摘要】:高尔泰是20世纪我国美学发展史上主观论的代表人物,近年来,因种种原因他从人们的关注视野中渐为淡化,但其在美学史上的地位是不容抹灭的。去年其回忆性文集《寻找家园》新一版的推出将其有限地拉回了人们的认知视野。对其美学思想进行研究不乏其人,但单独研究其艺术观且将其艺术观与符号论美学代表人物苏珊·朗格的艺术观进行对比研究,目前来说,并无先例。 本文第一章将高尔泰的艺术观按时间划分为三个阶段。第一个阶段为“艺术观的积淀期”,时间以20世纪50年代——1962年进入敦煌艺术研究所为界。这个阶段的高尔泰对艺术停留在接受启蒙和绘画实践的初步积累,但从其对苏联教学方法的抵触可想见以后的高尔泰形象,这个阶段高尔泰发表了他的第一篇美学论文《论美》;第二个阶段为“艺术观的成熟期”,时间以20世纪60年代——1990年为界。在这个阶段,高尔泰出版了自己的两本理论文集:《论美》和《美是自由的象征》;第三个阶段为“艺术观的调整期”,时间界定为1990年以后。这个阶段的高尔泰以多年飘泊美国旁观西方艺术界的亲身体验提出了自己对一些艺术现象的思考和看法,使其艺术观呈现为一个没有发生断裂且与时俱进的完整体系。 第二章,详细分析了高尔泰在20世纪60年代——90年代“艺术观的成熟期”的具体观点,主要分析了高尔泰在这个时期所提出的几个独具个人特色的概念,包括对感性动力的分析、忧患意识的论述及其有关“力”的诸多表述。此阶段,高尔泰的理论处于不断完善的阶段,论述渐为严谨。同时由于80年代诸多西方美学理论的引译,我们可以看到高尔泰对苏珊·朗格的认可及其苏珊·朗格的观点对高尔泰理论体系的影响,所以本文专辟一章将两人的艺术观进行对比,以便清晰地展现高尔泰的艺术观精华及理论意义。 第三章,展开了高尔泰的艺术观与苏珊·朗格的艺术观的比较研究,以两人对艺术分别的定义为起点,逐一从情感的内涵、情感的表现形式、艺术的分类三个方面对比了两者的异同。 本文的最后,总结了高尔泰艺术观在其美学思想中的地位及其艺术观的体系完整性和独特的价值。全文展现了高尔泰一个完整的艺术观体系及其他在艺术方面的真知灼见。
[Abstract]:Gortai is a representative figure of the subjective theory in the history of Chinese aesthetics in the 20th century. In recent years, he has gradually become desalinated from the attention of people for various reasons, but his position in the history of aesthetics cannot be erased. The introduction of a new edition of its recalling collection, the search for Home, last year brought it back to the cognitive horizon in a limited way. It is not uncommon to study his aesthetic thought, but there is no precedent to study it alone and compare it with that of Suzanne Lange, the representative of symbolic aesthetics. The first chapter of this paper divides Goldie's art view into three stages according to time. The first stage is the period of accumulation of artistic concept, which is bounded by the entry of Dunhuang Institute of Art from 1950s to 1962. At this stage, Golgi Tai stayed in the initial accumulation of accepting enlightenment and painting practice, but from his resistance to the Soviet teaching method, one can imagine the image of Golgi in the future. In this stage, Galatay published his first aesthetic paper "on Beauty", and the second stage was "the mature period of Art View", which was defined by 1960s-1990. In this stage, Gortai published his two theoretical works: "on Beauty" and "Beauty is the symbol of Freedom"; the third stage is "the Adjustment of Art View", which is defined as the period after 1990. At this stage, Golgi put forward his own thoughts and opinions on some artistic phenomena with his own experience of watching the western art circles for many years, so that his art view presented a complete system that did not break and keep pace with the times. In the second chapter, the author analyzes in detail the specific viewpoints of Golgi's "the mature period of Art View" in the 1960s and 1990s, and mainly analyzes several concepts with individual characteristics put forward by Goratai in this period. It includes the analysis of perceptual motive force, the argumentation of suffering consciousness and its expression of "power". At this stage, Goldie's theory is in the stage of continuous improvement, exposition is gradually rigorous. At the same time, as a result of the translation of many western aesthetic theories in the 1980s, we can see that Gortaire's approval of Susan Lange and the influence of Susan Langer's views on Goltaire's theoretical system. Therefore, this paper dedicated a chapter to compare the two people's views of art, in order to clearly show the essence and theoretical significance of Gaultai's view of art. In the third chapter, the author makes a comparative study of Goltay's view of art and Susan Langer's view of art, starting with the two people's definitions of art, one by one, from the connotation of emotion and the form of expression of emotion. The classification of art compares their similarities and differences in three aspects. At the end of this paper, the author summarizes the position of Goltay's view of art in his aesthetic thought and its system integrity and unique value. The full text shows Gortai a complete system of art and other insights in the field of art.
【学位授予单位】:首都师范大学
【学位级别】:硕士
【学位授予年份】:2012
【分类号】:J0

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