【作者】 鄂霞；

【导师】 王确；

【作者基本信息】 东北师范大学 ， 文艺学， 2010， 博士

【摘要】 中国近代社会,最典型的学术现象就是西学东渐,此时也是中西文化碰撞融合最广泛的时期,我国传统学术体系在西方文化的冲击下被动发生了现代化转向。学科意义上的中国美学就是在这样的时代背景下从西方传入的,可以说这是中国美学学科产生的历史与逻辑起点。作为现代学术意义上的中国美学,不同于传统美学散在、感性、缺乏体系的存在形态,它建立在现代学术理念与思维模式下,具有一套自成体系的概念、术语及话语方式,而这些几乎完全来自于对西方美学理论的移植。在移植过程中自然涉及到两种语言间的翻译转换,也势必会产生一系列美学相关概念、术语的汉语名称,它不仅构成了这门学科体系的知识基础,更昭示出中国古典审美理想的现代转型。所以,探索此时关键美学概念、术语的源流变迁史的工作就显得尤为重要。而纵观当前理论界的研究现状,可以看出学界对中国近代美学范畴,尤其是晚清至五四时期美学关键词的源流考辨工作还是稍显薄弱。本文试图在学界现有研究成果基础上,通过对史料的挖掘以及对历史语境的回归,首先从宏观的视角概述我国引进西方美学初期的学界状态,梳理出由学科名称的首次引进到“美学”译名的流变过程,以及对“美学”概念理解的逐步深化直至近代美学体系初步确立的大致脉络。在此基础上选取了现代美学理论中具有支撑性意义的五大范畴——“崇高”、“优美”、“悲剧性”、“喜剧性”和“丑”作为论述的重点,追溯考察近代审美理想中关键美学概念从作为名词提出到作为范畴的最终确立过程,阐明这些外来理论资源所经历的异质、转化与融合的过程,并进一步分析这些美学关键词所体现出的时代性特征与民族化印记。本文虽从最基本的美学关键词的考辩入手,其最终目的还是在于对中国近代美学思想及美学学科的发展演变历史的把握,因为所谓美学的关键概念、基本术语,即是浓缩了的美学史。我国从20世纪初对西方美学引进之始,至今已有百余年的历史,许多理论与具体概念在接受与传播过程中都难免被模糊运用、被想象性误读,所以对于此时美学关键词的梳理,既有助于我们廓清美学初建时的面貌,了解中国近代学术界是如何接纳这些来自异域的新概念的,又可以实现当前美学理论界更好的发展。更多还原

【Abstract】 In the Chinese modern society, the most typical academic phenomenon is the gradual entry of western thoughts into China, and this is also the most extensive period of collision and fusion between the Chinese and western cultures. Then our traditional academic system was modernized under the impact of the western culture. The discipline of Chinese aesthetics was introduced from the West in this time, which is known as the historical and logical starting point of the discipline of Chinese aesthetics.As a modern academic level of the Chinese aesthetics, it is different from the traditional aesthetics, which is scattered, perceptual and non-systematic. The modern Chinese aesthetics is established in the modern academic ideas and thinking mode, and has a series of self-contained concepts terms and mode of discourse which were almost completely transplanted from the Western aesthetic theory. This process of theoretical transplanting involved the translation between the two languages, and was bound to produce a series of aesthetic concepts and terms in Chinese, which did not only constitute the knowledge base of the discipline system, but also showed the modern transformation of the Chinese classical aesthetic ideal. Therefore, the study on the origin and evolution of the key aesthetic concepts and terms becomes especially important. But taking a wide view of the current status of the theory circle, we can see that the study on the origins of the key words of the modern Chinese aesthetics is relatively weak, particularly from the late Qing Dynasty to the May 4th.Based upon the achievements of existing researches in the academic community and the excavation of historical data as well as the return of the historical context, the thesis starts with an overview of the academic status of the early Western aesthetics into China to make clear the process of the first introduction and the evolution of the translated term of "Aesthetics" in Chinese, as well as the development vein of gradual deepening of understanding of the aesthetics and the initial establishment of the modern aesthetic system. On this basis, the thesis selects the five most important aesthetic categories in the modern aesthetics-sublime, grace, tragic, comic and ugly as the focus of discussion. The thesis does a retrospective study on the key concepts of the Chinese modern aesthetics as nouns from the scope of a proposal to the final set as the categories, articulates the process of these external theory resources through the heterogeneity transformation and integration, and further analyses these aesthetic keywords which embody the time and national characteristics.This thesis centers on the basic aesthetic keywords, but the ultimate objective is to study the historical and the discipline development of the Chinese modern aesthetic thoughts, because the so-called aesthetic key concepts and basic terms are the condensed history of aesthetics.Chinese scholars began to introduce the western aesthetics in the early 20th century, and till now it has been over a hundred years. Many theories and concrete concepts in the process of acceptance and communication were inevitably blurred used and imaginatively misunderstood. So combing the modern aesthetic keywords can not only help us to clear up the initial state of aesthetics and to understand the modern Chinese academic circles on how to accept the new concepts from foreign culture, but also to promote the better development of the current aesthetic theory.更多还原