【作者】 莫小红；

【导师】 赵炎秋；

【作者基本信息】 湖南师范大学 ， 文艺学， 2014， 博士

【摘要】 弗里德里希·席勒(Schiller1759—1805)是德国伟大的诗人、戏剧家、美学家,他与歌德并称为德国文学史上的“双子星座”,与莎士比亚并称为世界戏剧史上的“并峙双峰”,在美学史上,他创造性地使用了“美育”的术语,开启了审美现代性批判之先河,被誉为“现代美育之父”。早在20世纪初,席勒的美育思想就随王国维、蔡元培、张君劢、朱光潜、宗白华等学者传入我国,作为重要的思想资源,推动了中国美育思潮的形成、发展。本文在文献研读的基础上,从发生学的视角去审视席勒与20世纪上半叶中国美育思潮的关系,考察近现代中国接受席勒思想的历史缘由与具体史实,清理席勒对20世纪上半叶中国美育思潮发生、发展的影响,以及影响的程度、影响的方式,并选择了王国维、蔡元培、朱光潜、宗白华、郭沫若、田汉作为典型个案研究,探讨这一文化事件所呈现出的思想资源和基本规律。全文由导论、正文、结语三部分组成。导论部分主要说明本文写作的缘起、意义；本课题的研究现状；对美育、美育思潮进行概念界定；并从人性与人格完善的角度阐述席勒美育思想的主要内容。正文部分共分四章。第一章探讨席勒在20世纪上半叶中国的译介、接受与影响。席勒进入中国是在传统文化现代转换、旧式教育体制革新、大众传播媒介兴起的历史语境下,近现代中国的席勒译介经历了清末民初的发轫期、新文化运动至30年代的繁荣期、抗日战争至新中国成立的沉寂期三个阶段；席勒接受表现出选择性过滤、中国式改编、镜像式想象三种倾向；席勒美育思想伴随着中国美育思潮兴起、发展、流变的全过程,改变了中国传统美育的从属地位,张扬了审美的自由理念,并将美育引向对现实人生的观照、对理想社会的构建。第二章考察王国维、蔡元培对席勒美育思想的接受。王国维是中国现代美育的开创者和奠基人,被尊为“吾国之希勒(即席勒)”,早在1903年他就开始引进西方现代美育理论,挖掘中国传统美育理念,确定美育的情感教育本质,倡导美育独立。王国维的美育思想深受席勒的影响。20世纪初王国维通过自学西学,了解了席勒的美学、美育思想；后来担任《教育世界》杂志主编,他多次撰文介绍席勒美育思想产生的时代背景、席勒的美育目的论、价值论等；王国维还以席勒“游戏说”为理论基石,肯定艺术的游戏本质,强调文艺功能的“无用之用”,批判传统“文以载道”思想；依据席勒《论素朴的诗和感伤的诗》中对艺术创作手法的区分,解读中国古典诗词,创新传统意境论。蔡元培是中国的“现代美育之父”,他以毕生精力推行美育。担任中华民国教育总长,他将美育写入国家的教育方针,第一次确立了美育在中国现代教育史上的地位；作为北大校长,他身体力行,亲自指导美育实践。在蔡元培的倡导和引领下,20世纪上半叶中国的美育思潮得以形成并迅速发展。蔡元培的美育思想深受席勒的影响,他接受席勒以全面发展为旨归的美育目的论、以情感教育为内涵的美育本质论、以中介调和为功能的美育价值论、以艺术教育为手段的美育实施论,构建中国现代美育理论体系。蔡元培的接受在本土化过程中又呈现出创新发展之势：他赋予美育启蒙性,较之席勒更重视美育实践,强调从家庭、学校到社会的整体美育观,提出了颇具影响的“以美育代宗教说”。王国维、蔡元培处在19世纪末20世纪初中国启蒙的大背景下,他们试图通过美育培养“完全之人物”、养成“健全人格”,改造国民劣根性,使美育成为了“立民新人”教育的重要组成部分第三章考察朱光潜、宗白华对席勒美育思想的接受。朱光潜是我国20世纪最重要的美学家之一,他的美学思想中蕴含着丰富的美育思想。作为席勒美学、美育思想的重要中国译介者,朱光潜的美育思想也受到了席勒的影响。他吸收席勒的人本主义美育观,重视美育“怡情养性”的功能,将人生的最高价值指向美,提出了“人生艺术化”的命题。宗白华也是20世纪中国最重要的美学家之一,他在研究席勒美育思想的基础上,结合中国的社会现实,提出了构建理想人格的救世方案,并将境界的研究与人格的探求结合起来,提出了“艺术生命化”与“生命艺术化”的课题。朱光潜、宗白华作为中国现代美学史上的并峙双峰,他们都关注苦难社会中人的生存状态,试图以美育解除人生的烦闷,人内心的压迫感、寂寞感、空虚感,提升人的美感修养,以审美的态度观照人生,视鄙俗的社会生活为艺术品,以实现生命的活跃,生活的情趣化,心灵的自由解放,赋予了美育“救赎”的功能。但是,朱光潜、宗白华的“审美救赎”论又不同于之前的王国维,王国维认为人生的苦痛源于“欲”,解脱之道便是“拒绝生活之欲”,呈现出悲观厌世的情调。在朱光潜、宗白华的视野中,人生的最终目标不是“超脱”而是积极地“参与”,培养“出世的精神”是为了更好地完成“入世的事业”,超脱现实仅仅是在恶劣环境中实现诗意生存的手段。第四章探讨郭沫若、田汉对席勒美育思想的接受。郭沫若是20世纪中国的一位文化巨人,在戏剧、诗歌等领域成绩斐然。郭沫若曾与田汉以“中国的歌德和席勒”相期许,虽然郭沫若被文艺界视为“社会主义时代的新中国的歌德”,但是,郭沫若是席勒戏剧《华伦斯坦》的中译者,他早期曾接受席勒“游戏说”,强调艺术的无目的性；接受席勒对浪漫主义、现实主义两种创作手法的区分,将“摹仿的艺术”与“表现的艺术”相对立。郭沫若的史剧创作也呈现出“席勒式”倾向：宣传时代精神、遵循“失事求似”的创作原则、表现殊死斗争的悲剧精神。田汉是我国现代戏剧史上的“一代宗师”,曾立志做“中国的席勒”,早在日本留学时,田汉就曾介绍席勒的美育思想、接受席勒“游戏说”、审美调和论,此时的席勒是他心中崇拜的“浪漫主义诗人”；回国之后,他译介了席勒戏剧《奥尔良的姑娘》、《威廉·退尔》的故事梗概,称席勒是“为自由而战的人”；1950年代,他又将席勒视为“民主与民族自由的战士”大加赞赏,田汉的席勒接受凸显出我国时代精神的演进。田汉的历史剧创作也同席勒一样表现民主主义与爱国主义的主题、通过尖锐的矛盾冲突展现人物性格、遵循“诗意真实性”创作原则、在剧中大胆融入自我形象抒发自我情感。郭沫若、田汉是40年代中国文艺界的领军人物,他们的艺术理论、艺术实践具有极强的时代性,他们接受了席勒通过美育改造社会、实现政治自由的理想,但是忽视了艺术的“中介”形式,让艺术直接为集团吼叫,为政治呐喊,中国的美育由此失去了形而上的慰藉功能,走向了服务政治之路。结语部分主要总结20世纪上半叶中国席勒接受的特点并展望未来的席勒接受方向。20世纪上半叶中国的席勒接受呈现出美育启蒙、审美救赎、政治诉求三种不同的价值取向。今天,科技迅速发展,机械化大生产带来了分工的精细化、专门化,这种工具理性的统治导致了人的片面发展,生命的主体性丧失,自由个性遭到扼杀,如何培育全面发展的人、提升人的生存质量成为具有时代意义的重大理论课题,席勒的美育思想必将发挥更大的社会作用,成为解救现代社会人的生存危机的思想资源。进入新世纪,中央提出了构建社会主义和谐社会、建设美丽中国的战略任务,席勒将美育视为一种而向未来的和解力量,席勒的美育思想在和谐社会、美丽中国的建设中定能发挥积极的指导作用。更多还原

【Abstract】 Friedlich Schiller(1759-1805) is a great German poet, dramatist and aesthetician, who was referred to as "Gemini" together with Goethe in the German literary history and called "the Twin Peak" with Shakespeare in the history of world drama. His creative use of the term "aesthetic education" opened the the criticism of aesthetic modernity. Thereby he had been known as "Father of modern aesthetic eduation". As early as the beginning of the20th century, his thoughts of aesthetic education,as important thinking resources, had been introduced into China due to the scholars such as Wang Guowei, Cai Yuanpei, Zhang Junmai, Zhu Guangqian and Zong Baihua promoting the fomation and development of Chinese aesthetic education thought. On the basis of literature study, this paper aims to inspect the relationship between Schiller and Chinese aesthetic education in the first half of the20th century from the genealogical respective, to investigate the historical reasons and specific facts about modern China’s accepting Schiller’s aesthetic education thoughts and to make clear the effects of Schiller on the formation and development of Chinese aesthetic education thoughts in the first half of the20th century and the degree and ways of those effects. Selecting Wang Guowei, Cai Yuanpei, Zhu Guangqian and Zong Baihua,Guo Moruo,Tian Han as typical cases of study, this paper is to explore the thinking resources and basic rules of this cultural event.My paper is made up of three parts:introduction,text and conclusion.The introduction part mainly explains the origin and significance of this writing and the present study situation of the topic. It defines the concept of aesthetic education and aesthetic education thought, expounds the main contents of Schiller’s aesthetic education thought from the perspective of human nature and the perfection of personality.There are four chapters of the main body.Chapter one discusses the translation, reception and effects of Schiller, in China during the first half of the20th century. Schiller was introduced into China under the historical context of modern transformation of traditional culture, the innovation of old education system and the rising of mass media. The translation of Schiller’s works had undergone three stages:the initial period in the late Qing Dynasty and early Republic of China, the boom from the New Culture Movement to the1930s, the doldrum from the Anti-Japanese War to the founding of new China. The reception of Schiller showed three tendencies:the selective filtering, Chinese adaptation and image-type imagination. Schiller’s aesthetic education thought, through the whole process of Chinese aesthetic education’s rising, development and Theology, changed the subordinate status of traditional Chinese aesthetic education, promoted the aesthetic ideals of freedom and led the aesthetic education to observation of the real life and to the construction of ideal society.Chapter two inspects Wang Guowei’s and Cai Yuanpei’s reception of Schiller’s aesthetic education thought. Wang Guowei is a pioneer and founder of Chinese modern aesthetic education, revered as "China’s Hille (i.e., Schiller)". As early as in1903he began to introduce western modern aesthetic education theory, dug into traditional Chinese aesthetic education concepts, confirmed the emotion education nature of aesthetic education and advocated independent aesthetic education. The aesthetic education thought of Wang Guowei were deeply influenced by Schiller. Early in the20th century Wang Guowei acquainted himself with Schiller’s aesthetics and aesthetic education through his self-study of western learning. Later when he became the chief editor of the magazine "Education World", he introduced the era background of Schiller’s aesthetic education thought, the teleology and axiology of Schiller’s aesthetic education thought for several times. With "the game theory" of Schiller as the theoretical foundation, Wang Guowei affirmed the game nature of art, emphasized the "useless value" of literature and art function, criticized the traditional thoughts of "writings are meant to carry truth". Moreover, on the basis of Schiller’s distinguishing the means of artistic creation in "on Naive and Sentimental poetry", Wang interpreted the classical Chinese poetry and innovated the traditional theory of artistic conception. Honored as China’s "Father of Modern Aesthetic Education", Cai Yuanpei devoted her lifetime to carry out aesthetic education. As the general education director of the Republic of China, he wrote aesthetic education into the national education policy, establishing the aesthetic education in Chinese history of modern education for the first time; As President of Peking University, he practically and physically guided aesthetic education practice. Under Cai Yuanpei’s advocation and guidance, Chinese aesthetic education thought in the first half of the20th century took shape and developed rapidly. Greatly influenced by Schiller, Cai Yuanpei’s aesthetic education thought absorbed Schiller’s aesthetic education teleology of all-round development, the aesthetic essentialism of affective education as the connotation, the aesthetic axiology of mediation and reconcilation as the function, the aesthetic implementation theory of art education as the means, and constructed China’s modern aesthetic education theory system. Under different contexts and faced different problems from those of Schillerr, the reception of Cai Yuanpei, while absorbing, presented the tendency of innovation and development in the process of localization. He made aesthetic education enlightening, attached more importance to aesthetic education practice compared with Schiller, focused on overall aesthetic education view from family, school to society, put forward the influential "aesthetic education for religion". Under the background of China’s enlightenment in the late19th century and early20th century, Wang Guowei and Cai Yuanpei tried to train ideal human beings through aesthetic education, form a "healthy personality", reform the national prey, make aesthetic education an important part of. the "cultivating new type of ordinary people "education.Chapter three inspects Zhu Guangqian’s and Zong Baihua’s reception of Schiller’s aesthetic education thought. Zhu Guangqian was one of the most important aesthetes of the20th century in China, His aesthetic thought contained rich aesthetic education thought. As an important Chinese translator of Schiller’s thoughts, the aesthetic education thought of Zhu Guangqian is also influenced by Schiller. He absorbed Schiller’s humanistic aesthetic education, paid attention to the tranquil ity function of aesthetic education, pointed out the highest value of life is beauty, put forward the proposition of "life artistry". Zong Baihua is also one of China’s most important aesthetes of the20th century. On the basis of studying Schiller’s aesthetic education thoughts, he put forward the plan of constructing ideal personality with considering the social reality of China, combined the research of realm with the study of personality, put forward the topics "art life" and "artistic life". As the twin peaks in the history of Chinese modern aesthetics, Zhu Guangqian and Zong Baihua both paid attention to human survival state in the suffering society, tried to relieve the boredom of life, the inner pressure, loneliness and emptiness through aesthetic education, and improve people’s aesthetic accomplishment, reflect on life with aesthetic attitude and regard the social life as art, so as to realize the vigor of life, the appeal of the living, the liberation of mind, endowing aesthetic education with the function of "salvation". However, The "aesthetic redemption" theory of Zhu Guangqian and Zong Baihua was different from that of Wang Guowei, who thought our pain was the result of "desire" of life and the way of liberation is refusal of desire and to represent the mood of pessimism. In the view of Zhu Guangqian and Zong Baihua, the ultimate goal of life is "participation" instead of "detachment". The cultivation of "birth of spirit" is to better complete the "cause of participation", for escaping from the reality was just a way to realize poetic life. in an adverse environment.Chapter four explores Guo Moruo’s and Tian Han’s reception of Schiller’s aesthetic education thought. Guo Moruo was a giant of Chinese culture in the20th century, who had accomplished remarkable achievements in the field of drama and poetry. Guo Moruo and Tian Han expected themselves to be "China’s Goethe and Schiller" respectively. While Guo Moruo was referred to as "Goethe of new China during the socialism era", Guo Moruo was the chinese translator of Schiller’s drama "Wallenstein". In his early years, Guo Moruo had accepted "the game theory" of Schiller, emphasized the aimlessness of art, agreed on Schiller’s distinction between the two kinds of composition techniques:romanticism and realism and put "imitation art" against" performance art". The composition of Guo Moruo’s historical drama also presented a "Schiller type" tendency, propagandized the spirit of time, followed the creation principle of seeking similarity from facts, showed the tragedy spirit of bitter struggle. Tian Han was a Grand Master in the history of Chinese modern drama, who had pledged to be "Chinese Schiller". His works had the unique aesthetic style and aesthetic value while his art practice and art theory contained abundant aesthetic education thoughts. When studying in Japan, Tian Han had introduced Schiller’s aesthetic education thoughts, accepted "the game theory"and aesthetic reconciliation theory of Schiller. Schiller was a "romantic poet" worshipped in his heart at that time. After returning to China, he translated the main contents of Schiller’s two dramas "The Orleans Girl" and "William Tell", praising Schiller as a man "fighting for freedom". In the1950s, he greatly praised Schiller as "a soldier fighting for democracy and national freedom". Tian Han’s reception of Schiller highlights the evolution of era spirit in our country. The aesthetic education thoughts of Tian Han were greatly influenced by those of Schiller. As a result, the historical drama composition of Tian Han presented themes of democracy and patriotism just like Schiller. He showed the character personality through sharp conflicts, followed the composition principle of "poetic authenticity" and expressed his own emotion with bold self-image in the play. Both of Guo Moru and Tian Han were great pioneers in Chinese circle of literature and art in the1940s, whose art theory and practice had strong epochal character. Both of them accepted Schiller’s thoughts of constructuring the society and realizing the political ideal of freedom through aesthetic education. However they ignored the "mediation" form of art, made art directly roar for community and cry for politics. Chinese aesthetic education, thus lost the metaphysical comfort function, instead on a path to serving for politics.The conclusion mainly summarizes the characteristics of Schiller’s reception in China during the first half of the20th century and looks forward to the direction of Schiller’s reception in the future. Schiller’s reception in China during the first half of the20th century presented three different value orientations:aesthetic enlightenment, aesthetic redemption and political demands. Today, the rapid development of science and mechanized production has brought the division refinement and specialization. This rational rule of tool led to the one-sided development of human beings, the lost of life’s subjectivity, the strangle of our freedom and characteristics. How to cultivate people of all-round development and improve people’s quality of life become major theoretical subjects of era significance. Schiller’s aesthetic education thought will play a more important social role and become thought resources to solve people’s survival crisis in the modern society. Entering the new century, the central government put forward the strategic task of building a harmonious socialist society and a beautiful China. Schiller regarded aesthetic education as a future-oriented reconciliation strength. His aesthetic education thought will play a positive role in guiding the construction of a harmonious society and a beautiful China.更多还原