【作者】 刘继平；

【导师】 张玉能；

【作者基本信息】 华中师范大学 ， 文艺学， 2009， 博士

【摘要】 周来祥先生是我国当代著名的美学家、文艺学家,其美学思想被称为“和谐自由论美学”,以其思想体系为代表的学术观念被称为“和谐自由论美学学派”。论文研究其“和谐美学及其学派”的主要特征与内涵;周先生在中国当代美学的创新、独特之处;他在中国美学发展过程中的作用及美学发展史上的地位;他的理论的独特贡献与理论局限以及对后人产生的影响等。本文从六个部分对以上问题进行了较为详细的论述。绪论部分首先分四个阶段对周来祥先生和谐自由论美学思想的形成与发展进行了概述:第一个阶段是20世纪60年代初以前,是和谐美学观点由探索到形成的阶段;第二个阶段是20世纪80年代中叶以前,是和谐美学逐步形成体系的阶段;第三个阶段是20世纪90年代末以前,是和谐美学体系的超越阶段;第四阶段是20世纪90年代末至今,是体系的进一步发展与完善阶段。其次,此部分也对和谐自由论美学思想的研究现状与存在的问题做了简单的综述。第一章从中外的文化、审美现象与审美理论等方面阐述了周来祥先生和谐自由论美学思想的理论渊源。首先是其美学思想对中华文化的吸收,周先生指出,古代的“中和”的思想就是“和谐”的思想,“中和”思想是我国古代儒、道、佛三家的灵魂:儒家的规范、法度;道家的无为、自由;释家的尚心、主静,三者相互渗透、相互交流,共同形成周先生和谐艺术与美学的直接来源。其次,对于西方文化,周先生主要从三个方面进行了吸收与内化:他以马克思主义哲学为基础,从皮亚杰的认识论、西方“美的观念”的历史发展中,概括归纳出了美是和谐的本质特征;从康德对美与艺术的分析,得出艺术的审美本质是以情感为主的特征;从黑格尔与马克思那里借鉴了现代辩证思维的方法,建构了一个双向逆反、纵横交错、动态开放的网络式圆圈构架体系;从西方现代与后现代主义艺术中总结出丑与荒诞的美学范畴,扩大了近代崇高范畴的范围。最后,他在兼容并蓄前哲时贤的基础上,建构了和谐自由论美学思想体系。第二章从三个方面简述了周先生和谐自由论美学思想的具体内涵:第一,和谐自由论美学思想有着独特的研究方法,周先生认为传统的辩证思维方法长于纵向动态的历史观照,缺乏横向静态的共时分析,而现代自然科学方法是一种横向、静态、共时的思维模式,“和谐论”美学体系力图在马克思主义辩证思维的基础上,取二者之长,弃二者之短,把纵与横、动与静、历时与共时高度融合起来,形成了以主体辩证思维模式为构架,以关系思维为轴线,以逻辑推理和历史意识为特征的独特的方法论;第二,阐述了和谐自由论美学思想的核心——审美关系说,论述了它的几层含义,指出它的提出弥补了主观派与客观派的片面性,在一定程度上也深化了实践美学;第三,本章还论述了美是和谐自由在中外历史上的具体表现及周先生对美学范畴的新解。第三章探讨了周先生文艺美学思想的理论内核。周先生对文艺美学的贡献同样受益于辩证思维的方法,他认为艺术是情感的表现,文艺美学是以心理情感为中介,结合哲学认识与社会学、伦理学、生存实践论的一种高度综合的研究。他概括出艺术具备不以概念为中介,但又趋向于一种不确定的概念、无目的但又符合一定的社会目的及艺术是自由的审美意识等特征。同时他纵向研究了艺术形态的分类,根据两个原则来划分,一是用现代自然科学方法的定量分析,把艺术分为再现艺术、表现艺术与综合艺术;二是按质的原则,主观与客观、再现与表现、理智与意志、必然与自由,这些元素在对立中偏于和谐的是美的艺术,在统一中偏于对立的是崇高的艺术。最后周先生从横向研究了艺术的构成及艺术活动自身的具体内涵。第四章分析了周先生对中西方美学思想的独到见解。在中国美学研究方面,首先,周先生主编并参编的《中华审美文化通史》(六卷本),从先秦开始,一直写到二十世纪的审美文化,按照其和谐美学的发展线索,根据古代、近代与现代的不同特征,对各个时期审美文化的概况做了详细的论述;其次,他采取主导思潮的研究范式,抓住了占主导地位的审美理想和艺术思潮的变化脉络,并以它带动其他次要范畴的运动和发展,从而把各个时代的主潮突现出来,而在突出主潮的同时也尽可能地把时代的风貌展示出来。在西方美学研究方面,周先生主编了《西方美学主潮》,同样采取主导思潮的研究范式,运用辩证思维的方法,从古代和谐到后现代荒诞,从古典美的希腊雕塑到荒诞的后现代艺术,对西方美学史勾勒了一个大致的轮廓,使该书成为西方古代美学向近代美学发展的一部最完整的西方美学通史。在中西比较美学研究方面,周先生还是运用辩证逻辑方法,讲求思维的历史具体性,从微观与宏观方面进行比较,在比较的过程中,不排除同中有异、异中有同,既讲求动态与静态相结合,同时又把美学比较与文化比较密切联系,在历史分析中再现中西美学思想的逻辑进程,从中西比较中找到了新的、当代形态的美学建构,建立了一个较为完整的体系。结语部分总结了周来祥先生和谐自由论美学思想的学术贡献、意义及理论局限:首先从十个方面总结了周先生的学术贡献;其次从理论与现实两方面论述了和谐自由论美学思想所蕴涵的意义;最后客观地指出了和谐自由论美学思想的某些理论局限。更多还原

【Abstract】 Mr.Zhou Laixiang is a famous contemporary aesthetician of China.His aesthetic thought is called "harmony and freedom aesthetics",and those academic ideas surrounding his thought system are called "school of harmony and freedom aesthetics".This dissertation studies the principal characteristics and connotations of his "harmony aesthetics and its school",Mr.Zhou’s innovation in contemporary aesthetics of China,his role and position in China’s history of aesthetics;unique contributions,theoretic limits and influences of his theories,etc.This dissertation makes a detailed depiction in six parts.The part of introduction surveys the formation and development of Mr.Zhou Laixiang’s aesthetic thought of harmony and freedom in four phases.The first phase refers to the time from research to formation of harmony aesthetics before the 1960’s;the second phase refers to the gradual formation of harmony aesthetics before the middle of the 1980’s;the third phase refers to the surpassing of harmony aesthetics before the end of 1990’s;and the fourth phase refers to the further development and consummation of the system from the end of the 1990’s till now.Furthermore,this part makes a brief survey on the status in quo and existing problems of studies in the aesthetic though of harmony and freedom.The first chapter depicts the theoretical origin of Mr.Zhou’s aesthetic thought of harmony and freedom in respect to Chinese and foreign cultures,aesthetic phenomenon and aesthetic theory etc. The first is his aesthetic thought’s absorption from Chinese culture.Mr.Zhou points out that,the thought of "zhonghe" is equal to the thought of "harmony",and is the soul of the Confucianism,the Tao and the Buddhism in ancient China:the Confucianism’s moral standard,the Tao’s inaction and freedom and the Buddhism’s heart stillness,which are penetrated and communicating mutually,are the direct origins of Mr.Zhou’s thought of harmony art and aesthetics.The second,Mr.Zhou absorbs and digests the western culture from three respects:based on the Marxism and from the epistemology of Jean Piaget and the western history of "ideas of the beautiful",he summarizes and concludes the inherent characteristic of the beautiful as harmony;from Kant’s analysis on the beautiful and art,he concludes that the aesthetic essence of art is principally based on sentiment;using the modern dialectic thought from Hegel and Marx for reference,he constructs a net-like circle system which is mutual,crossing,dynamic and open;from the modern and post-modern art of the west,he summarizes the aesthetics categories of the ugly and the absurd,expanding the extension of sublimity. Finally,by absorbing the past thoughts,he constructs an aesthetic system of harmony and freedom.The second chapter briefly depicts the specific connotations of Mr.Zhou’s aesthetic thought of harmony and freedom from three respects:the first,the aesthetic thought of harmony and freedom applies unique study method.Mr.Zhou concludes that,the method of dialectic thinking is good at longitudinal dynamic historical observation but in lack of transverse static coexisted analysis,and the method for modern natural science is a transverse,static and coexisted thinking mode.Based on the dialectic thinking of Marxism,the aesthetic system of "harmony" attempts to absorb the advantages of the two and abandon their defects,highly combine the longitudinal and transverse,the dynamic and static,the diachronic and coexisted into one,and finally form an unique methodology in a structure of subjective dialectic thinking mode and with an axes of relative thinking and characteristics of logic reasoning and historical consciousness.The second part depicts the core of aesthetic thought of harmony and freedom-theory of aesthetic relationship,dissertates their connotations,and points out that it makes up the one-sidedness of the subjective school and objective school and deepens the practice aesthetics to a certain extend.The third part dissertates specific embodiment of the beautiful as harmony in Chinese and foreign history,and Mr.Zhou’s new explanation on aesthetic categories.The third chapter discusses the theoretic core of Mr.Zhou’s literary aesthetics.Mr.Zhou’s contributions to literary aesthetics are from the method of dialectic thinking.He concludes that the art is the representation of feelings,and the literary aesthetics is,with psychological sentiment as media, a highly comprehensive study in the combination of philosophy,sociology,ethnics,survival and its practice as a whole.He concludes that the art doesn’t take concept as media but tends to an indefinite concept,is purposeless hut in compliance with a certain social purpose,and is free aesthetic consciousness,etc.At the same time,Mr.Zhou studies the classification of art forms vertically,and divides the art as per two standards,the first is to apply the quantitative analysis in modern natural science to divide the art into reappearance art,representation art and comprehensive art;the second is to apply the qualitative standard to divide art into fine art and sublimity art,in the former,the subjective and objective,the appearance and representation,the reasoning and willing,and necessity and freedom tends to harmony in opposition,and in the latter,those factors tends to opposition in unification.Finally,Mr.Zhou transversally studies ante art composing and specific connotation in art activity itself.The fourth chapter analyzes the unique views on the eastern and western aesthetic thoughts. Refers to the study on China’s aesthetics,first of all,Mr.Zhou chiefly edits and partly writes A General History of China’s Aesthetic Culture(six volumes),which surveys the aesthetic culture in details in each period from the Pre-qin period to the twenties century as per the different characteristics in ancient times and modern times according to the evolving clue of his harmony aesthetics.Secondly,Mr.Zhou takes the study paradigm of leading thought,grasps the evolving skeleton of leading aesthetic ideal and art thought and thereby drives the movement and evolvement of other secondary categories,by this way,highlights the principal thought of each period,and at the same time possibly shows the features of the times while the leading thought is highlighted.Refers to the study on western aesthetics,he chiefly edits The Leading Western Aesthetic Thought,in which,Mr. Zhou,with the method of dialectic thinking,outlines the western history of aesthetics from the ancient harmony to postmodern absurdness to and from the sculpture in classical beauty to the art in postmodern art,making this book as the most complete general history of western aesthetics for the western aesthetic evolvement from ancient to modern.Refers to the study on comparative aesthetics between China and the west,Mr.Zhou applies dialectic logic as well,pays attention to historical materiality of thinking,and compares in respect to the macroscopic and microcosmic.His aesthetic comparison doesn’t exclude difference from common points and common points from difference, combines the dynamic and static into a whole,at the same time closely links to the culture,to reappear, in historic analysis,the logic process of aesthetic thoughts of China and the west,and finally finds out a new and contemporary-mode aesthetic structuring and establishes a relatively complete system.The part of conclusion summarizes the academic contributions,significances and theoretic limits of Mr.Zhou’s aesthetic thought of harmony and freedom:the first is to summarize Mr.Zhou’s academic contributions in ten respects;the second is to depict the significances contained in the aesthetic thought of harmony and freedom in respect to theory and reality;the last is to objectively point out some theoretic limits of the aesthetic thought of harmony and freedom.更多还原