【作者】 乔东义；

【导师】 汪裕雄；

【作者基本信息】 安徽师范大学 ， 美学， 2004， 硕士

【摘要】 李泽厚实践美学崛起于二十世纪五、六十年代，以重实践、尚“人化”之思想昂然高蹈，其“客观性与社会性相统一”的美学观一举打破了当时美学领域蔡、朱、吕三家对峙的僵化格局，引领中国美学走向新的唯物主义发展路径。七、八十年代，李泽厚着手建构主体性实践哲学、美学(人类学本体论)，提出了双重“自然人化”、“工具本体”、“心理本体”、“文化心理结构”、“积淀”、“新感性”等一系列崭新的范畴和命题，以树立“主体性”为旨归，以“人的解放”为号召，在学界产生极大影响，以李氏为代表的实践美学一时成为国内美学主流，他本人也博得了“思想库”之美名。八十年代末，面临中国现代化问题，李先生又进一步营造“个体主体性”、“情感本体”等审美的“乌托邦”，以期为中国未来的社会建构增添一份真切的人文关怀。李先生既是美学家，又是哲学家和思想家，他的美学研究兼具艺术家的热忱敏感、哲学家的广阔视界和思想家的深邃思考。在他的美学中，中西、古今贯通，文史哲兼融，既有着“六经注我”式气魄和智慧，又有着“不立不破”式原创精神。李先生治学不类象牙塔内的学究做高头讲章，他始终直面时代潮流，关注社会、人生主题，研究西学(如马、康)是为了“中用”，研究传统(如儒、道)是为了“今用”。从某种程度上说，李氏实践美学探索历程实际上反映了整个二十世纪后半期中国美学的发展进程，其地位之重要，影响之重大，迄今为止，还没有哪一家新的美学能够真正取而代之。不管认同与否，它实际上已构成中国当代美学肌体中的主要骨架。考察李氏实践美学，几等于考察整个当代中国美学。作李氏实践美学思想研究，其意义自不待言。李氏实践美学源深流广，且在坚持中不断发展、更新，横向静态把捉不易，故本文主要按其美学思想发展的动态逻辑历程，纵向论述，横向展开。纵向大致分为三个阶段：早期，始创实践美学；中期，建设主体性实践美学；晚期，营构情感本体。每一阶段又横向展开为三个层次：美的哲学、审美心理学、艺术社会学。在此概论基础上，进一步阐述李氏实践美学的学理贡献与不足，以期从正反两方面探掘其主要思想内核。最后总结李氏实践美学研究的一些基本特征、方法以及当代意义，以为更有效地发掘、利用李氏实践美学思想资源垫下铺路之石。更多还原

【Abstract】 Li Zehou’s practical aesthetics, formed between 50s and 60s in 20thcentury, attaches great importance to practice and thinks highly of humanization; his aesthetics outlook on the unity of objectivity and socialization has broken the triangular deadlock of CaiYi, Zhu Guangqian and LuYing in the field of aesthetics at that time and led Chinese aesthetics towards the direction to develop a new matericalism. In 70s and 80s LiZehou set out to construct the practical philosophy of subjectivity and aesthetics (the ontology of anthropology), and put forward a series of brand-new categories and propositions such as “nature humanization”, “tools ontology”, “psychology ontology”, “the construction of cultural psychology”, “accumulation” and “new perception ” etc. the practical aesthetics represented by LiZehou, with the aim to build up “subjectivity” and call on “the emancipation of human being”, has a great influence in academic field becomes the main stream of Chinese aesthetics, for which, Mr.Li himself won the honor of “the reservoir of thoughts ”. In the late 80s, facing Chinese modernization, Mr.Li further built up “individual subjectivity ”,“the ontology of emotions” and other aesthetic Utopias for the hope of adding some true humanism care to the future social construction of China.Mr.Li is an aesthete, a philosopher and a thinker, for which his aesthetic study contains the enthusiastic sensitivity of an artist, the extensive horizon of a philosopher and the intensive thoughts of a thinker. In his aesthetics, the integration between the Chinese and the western or the ancient and the present, can be found everywhere and he not only has the courage and wisdom to make a great use of others’ works but also has the initiative spirit of not breaking others’ ideas without his own creative thoughts. Unlike the scholars of ivory tower to give empty talk, he always faces the trend of times and considers the society and the theme of life; he studies western philosophy ( like Marxist philosophy and Kant’s ) for the reason of applying them into Chinese and studies traditions ( like Confucianism and Taoism ) for <WP=6>the purpose of putting them to current use. To some degree, the exploration progress of Mr.Li’s practical aesthetics in fact, reflects the whole development of Chinese aesthetics in the late 20th century and his practical aesthetics is so important that so far no other aesthetics could replace it. Believe it or not, it has actually constituted the skeleton of aesthetic body in current China. In other words, to study Mr.Li’s practical aesthetics is almost to study the whole Chinese current aesthetics. So it goes without saying that to study the thought of Mr.Li’s practical aesthetics becomes very important. Mr.Li’s practical aesthetics is both intensive and extensive and is developed and renovated continually with persistence and this makes it difficult to grasp it cross wise and staticly. So this thesis is to expound it both in length and breadth mainly according to the dgnamic logical progress of his aesthetics thought development. As far as the length is concerned, it can be roughly divided into three periods: the early time — founding the practical aesthetics, the middle time — constructing the practical aesthetics of subjectivity and the late period — building the ontology of emotions. furthermore, each period is horizontally divided into three levels : the philosophy of beauty, the psychology of aesthetics and the sociology of art. After expounding the above concepts, the thesis further discusses the academic contributions and the deficiencies in Mr.Li’s practical aesthetics in order to explore the core part of his thoughts dialectically. Finally, the thesis summarizes some basic characteristics, approaches and current meanings from the studies of Mr.Li’s practical aesthetics for the hope of paving the way to explore and use more effectively the resources of Mr.Li’s practical aesthetics thought.更多还原