【作者】 罗曼；

【导师】 李衍柱；

【作者基本信息】 山东师范大学 ， 文艺学， 2009， 博士

【摘要】 在全球化“终结论”的喧嚣声中,尾随着20世纪末诸如“历史的终结”、“意识形态的终结”、“哲学的终结”、“艺术的终结”等声音,中国也出现了“实践美学终结论”。持实践美学终结论的观点大多针对实践美学的主客二分的思维方式而来,因此如何对待这种思维方式就成为当代美学的重要话题。蒋孔阳作为当代美学的参与者,已经朦胧地意识到二元对立思维方式的不合理以及美本质的提问方式的不恰当处,因此,其美学理论初步开始了对主客二分的思维方式的回避和克服。他以生成性的思维方式作为其美学理论的方法论基石并开始克服寻找美的终极本质倾向从而走向开放体系;他以对话性的思维方式作为其美学研究的创新和变革,为新世纪美学的发展走向起到了良好的借鉴作用,从而为当代美学走出困境带来了重要启示。蒋孔阳的美学思想的重要价值就体现在他的思维方式的与众不同,他的潜在的超越意识以及开放性的美学思维模式,这使得蒋孔阳美学思想具有重要的学术价值和研究价值。本文立足在“思维方式”的视野中来重新审视蒋孔阳的美学思想,从而探讨蒋孔阳美学思维方式的不同以及由此带来的美学思想的独特性和对当代美学建设的启示性意义,这是本文的一个基本着力点。论文的重点是通过对蒋孔阳这一个案的研究来重新思考有关当代美学的种种问题,并以此为切入点,尝试解决当代美学存在的种种困惑和疑问,从而为中国当代美学开启出新的思路,探索出新的美学研究的方法。全文共分为四章:第一章着重从总体上介绍蒋孔阳的学术经历以及美学思想的前后期变化,力图对蒋孔阳美学思想做一整体概述,并阐释其美学思想的发展变化,在这种变化中,掌握蒋孔阳美学思想的全貌,从而为全文的论述奠定基础,揭示蒋孔阳美学特色的根本所在。根据美学研究内容的不断深化,蒋孔阳美学思想可以大致划分为三个时期:早期,主要是50年代至文革前,以客观社会实践论为其主要美学思想内容。此时期的蒋孔阳美学主要是以客观社会实践论为主的美学思想,其美学视角更多的停留于美的社会实践属性,在美学思想研究上则带有明显划分唯物主义和唯心主义的倾向;中期,主要是80年代初期,以审美关系为出发点的美学思想研究。此时期的蒋孔阳美学属于过渡阶段,其美学思想虽有后期美学思想的萌芽,然而却不丰富,思想意识中依然有前期美学的影子;后期,主要是80年代中后期和90年代,以生成—创造为核心的美学思想实现了自我发展和超越。此时期的蒋孔阳美学集合了前期所有美学成果,并在此基础上进一步进行阐释和扩展,从生成—创造的角度来解释美的形成使其美学思想产生了飞跃,由此完成了其生成—创造论美学的基本建构。第二章重点阐释蒋孔阳实践美学方面的思想特色,在对蒋孔阳的生成—创造论、审美关系论、美感论、艺术美论的分析中,揭示蒋孔阳实践美学的生成—创造性特征,并以此全面展开对蒋孔阳实践美学的分析。文章认为,生成性思维是人类思维方式的重大转折,是对传统本质主义思维方式的超越,马克思主义的实践观中也体现了生成性思维。从思维方式上看,生成性思维在人类历史上已经取得了胜利,并以它的思维方式的特点而昭示了美学的发展方向。生成性思维在蒋孔阳的美学思想中有诸多体现,在他的美学思想中,无论是从“美是什么”到“什么是美”的提问方式的转变还是以审美关系作为理论研究的出发点都体现了生成这一观念对蒋孔阳美学思想的影响。而“美在创造中”这一命题则更为直接的展现了生成这一特征,生成的核心是创造,美在创造中就预示着美在不断生成的过程中,由此,“生成”成为贯穿蒋孔阳美论和美感论始终的重要概念。第三章注重对蒋孔阳中国古典美学思想、西方美学思想以及中西美学思想的比较研究做出分析及阐释,在这种全面分析的基础上突出蒋孔阳中西美学思想的特色以及这一思想在他整体美学思想中的地位。蒋孔阳是立足于中国本土的资源上来研究探索美学的,他不仅致力于中国古代美学的研究,对“礼乐”、“和”、“美与善”等中国古代美学的重要概念进行分析,而且由于其进行的是应用美学的专门研究,故而,其所取得的成就也是对中国古典美学的独特贡献。此外,以“人与自然”和“美与艺术”两个概念为核心来作为探析蒋孔阳西方美学思想的主线则可以看出蒋孔阳在西方美学研究上的主要贡献,从而达到“窥一斑而知全豹”的目的。中西方美学存在着差异,这是由于其社会历史背景以及由此所造成的思维方式的不同所引起的。西方更强调美与真的关系,强调克服矛盾后达到的和谐,崇尚精神上的自由,“为艺术而艺术”;中国则偏重美与善的关系,强调天人合一的“和”,推崇合乎自然之道的自由,这是蒋孔阳对中西方美学思想所做出的重要总结。第四章着重阐释蒋孔阳美学思想的主要成就、历史地位,并将蒋孔阳美学思想的特色凸显出来。在蒋孔阳的整个美学研究中,十分注意将主客、心物、时空、有无、中西等二元对立的命题放置于对话当中,在这种对话中阐述他们的特征以及彼此的不同,从而使得相互对立的概念成为具有互补力量的思想,并形成一种独创性的理论思维。在这种对话性思维的启发下,蒋孔阳突破了二元对立的思维模式的主客体界限,使对话双方既互为主体又互为对象,达到了对话双方真正的交流互动,在这种对话互动中,蒋孔阳的美学研究具有了在二元对立思维模式中不能发现的真知灼见,并看到了各种美学流派和对立观点中的相通与互补。蒋孔阳的美学思想之所以体现出强大的生命力还在于他采用了恰当的方法,他的美学方法论特征体现在以马克思主义辩证思维为核心,以关系思维为轴线,以历史全面的观点为特征,广泛吸收哲学美学,社会学,文艺学等多种研究方法的基础上所形成的独特的方法论体系。蒋孔阳美学思想的强大生命力还突出的体现在它影响了年轻一代学者的美学意识,从而在一些后继者的美学理论中实现了蒋孔阳美学思想的二次飞跃,这其中影响最大的是朱立元与张玉能两位学者。然而,任何理论都不可能是完备的,蒋孔阳美学思想也存在着局限,这与他所处的时代背景有关。蒋孔阳先后经历了新中国的成立,反右派、文革等大的政治洗礼,因此在其思想中美学意识形态化的痕迹明显。此外,蒋孔阳在一定程度上拘泥于马克思主义经典理论家的论述,过多的关注理论探讨,从而削弱了对现实美学问题的探讨。蒋孔阳的美学思想涉及实践美学,中国古代美学,西方美学,文艺美学以及中西比较美学,其理论涵盖面不言而喻,因此,选择一个点对其进行研究就成为贯穿本文的中心思路。在文章中,我们选择用“思维方式”作为贯穿蒋孔阳美学思想的一条隐线来架构全文,围绕“思维方式”这一核心命题来重新审视蒋孔阳的实践美学以及中、西美学思想,从而力图从一个新的角度来论析蒋孔阳美学思想,以达到既符合蒋孔阳美学思想的原意又能够站在新的立足点上来做出述评的目地,这是本文的主体思路和主要想法。更多还原

【Abstract】 There appear“ending of Practical Aesthetics”in china, facing the clamor of“ending”in the whole world, such as“ending of history”“ending of ideology”“ending of philosophy”“ending of art”and so on.“ending of Practical Aesthetics”mainly targeted at a mode of thinking of subject-object dual opposites. So the important topic of modern aesthetics is how to regard this mode of thinking. Jiang Kong-yang is one of Chinese contemporary Aestheticians, whose practical aesthetics consist of theories about essence of beauty, aesthetic feelings and aesthetic artistries. Jiang Kong-yang has begun to avoid this mode of thinking of subject-object dual opposites. He uses the generative thinking as methodology of his aesthetic theory. And his aesthetic study also has begun to from look for the only beauty essence to go to open system; he use mode of thinking of dialogue as a new ideas of his aesthetic study. All these changes and new ideas have gained good effectiveness, which can be used for reference for the modern aesthetics. And this is the important message that development in the modern aesthetics. Jiang’s great value of aesthetic idea is his different mode of thinking, his latent surpassing consciousness and his open aesthetic thinking. As a result, Jiang’s aesthetic ideas have important academic value and research values.This article emphasize“mode of thinking”. And this article attempts rethink the problems of the modern aesthetics through a case study of Jiang Kong-yang. Then based on this starting point, this thesis hope to resolve all kinds of perplexity and query, and give a new thought for the modern aesthetics.Chapter one gives a general introduction to Jiang’s academic experience and his aesthetic idea changed before and after processing. The paper tries hard to summarize to total aesthetic ideas of Jiang Kong-yang and illuminate the changes and development of his aesthetic idea. According to the research content continued to deepen, Jiang’s aesthetics can divide to three periods. The early period mainly study objective social practice from 1950s to Culture Revolution before. The metaphase aesthetics mainly study aesthetic relations as the logical starting point of aesthetic idea in the early 1980s. The later period, the generative-creative aesthetics form a great leap, which not only insisted on the creative aesthetics of Marxist practical materialism and promoted the development of practical aesthetics, but also practically and realistically probed into aesthetics with multi-approaches and on multi-levels so as to construct the latest form of generative-creative aesthetics from mid and late 1980s to 1990s. Chapter two emphasizes Jiang’s practical aesthetics. The generative-creative aesthetics stresses the relationship between man and reality in regard to aesthetic objects, the constant creation of beauty in regard to aesthetic essence, the contradictory unity on multilevel in regard to aesthetic perception. The article think the thought of productiveness is a modem philosophical thought, which argues against the as a abstract thing existing outside human beings. It thinks that we have a real world in which we live, concept of regarding objective world. So our standard of knowledge, the value and significance of our activities should be based on the real world, and be explained by this world or by the history of this world. Jiang’s aesthetics reflect this mode of thinking. The“generative”is an important concept in the Jiang’s Beauty and Aesthetic Sense theory. In his theories, some aesthetic propositions, such as the relationships while man appreciating the beautiful is the start point to research into beauty", "beauty is the reflection of human nature", "beauty can only be found in creation", "beauty is an image of freedom", show that, in his theories, Jiang sums up and develops the practical aesthetics represented by Li Ze-hou at his age.Chapter three analyzes Jiang’s Chinese traditional aesthetics, western aesthetics and his comparative aesthetics. In this foundation, the paper gives prominence to characteristic of Jiang’s west-china aesthetics. In this paper, the author analyzed“music and literature”,“virtues and beauty”, “nature and humanity”in Jiang’s Chinese traditional aesthetics, and“human and nature”,“beauty and art”in Jiang’s western aesthetics. Jiang Kong-yang has made great contribution to comparative aesthetics of Chinese traditional aesthetics and western aesthetics. He believes Chinese aesthetics and western aesthetics are different. Western aesthetics emphasized relation of beauty and true, advocate harmonious and spiritual freedom. But Chinese aesthetics emphasized relation of beauty and virtues, like“Nature and Humanity”ideology and natural freedom. Chapter four analyzed major accomplishment and historical role of Jiang’s aesthetic idea, for make clear Jiang’s aesthetics characteristic. In the Jiang’s aesthetic study, the dialogue thinking is a major mode of thinking and this mode f thinking has distinguishing feature alone. The m dialogue thinking breakthrough the mode of thinking of subject-object dual opposites and find out merits of all kinds of schools. At the same time, Jiang Kong-yang use right methods which make his aesthetics full of powerful vitality. And what’s more, Jiang’s aesthetics influence a lot of young scholars. The most influenced persons are Zhu Li-Yuan and Zhang Yu-neng. However, all theory can’t flawless. Jiang’s aesthetics also have limit, this is related to his historical context.In substance, the article choose“mode of thinking”as a idiomorphic clues. Around“mode of thinking”, the paper try to rethinks between china and west, and try to discuss his aesthetic ideas from new angles. Thus, this article is intended to serve two purposes. One is in accordance with Jiang’s aesthetics original intention, the other is there have a new point to look upon his aesthetics. This is the principal thinking and the main ideas of this article.更多还原