从审美直觉到审美距离——朱光潜审美经验论的逻辑框架  

From Aesthetic Intuition to Aesthetic Distance——Zhu Guangqian's the generation and variation of western aesthetics theory

作　　者：裴萱[1] 唐艺嘉[1] 

机构地区：[1]武汉大学文学院,湖北武汉430072

出　　处：《河南科技学院学报（社会科学版）》2013年第11期60-64,共5页Journal of Henan Institute of Science and Technology

基　　金：武汉大学博士自主科研项目"空间转向与后现代审美经验研究"(2013111010201);教育部人文社科规划基金项目"学科互涉与文学研究方法论革命"(08JA751032)

摘　　要：朱光潜正是努力通过自身对中国古典诗论的理解,不仅将克罗齐的"直觉"从一种思辨式的哲学思考引申成为心理学上的美感体验,更是同时化用布洛的"距离说"和立普斯等人的"内模仿论""移情说",从美的凝神静观与自由"出入"出发,建构了"中国化"的现代美学。克罗齐的"直觉"被朱光潜改造成为凝神静观的艺术审美经验,布洛的"距离说"又构成了理论弥补的关键因子。从审美直觉到审美距离,构成了朱光潜审美经验论的逻辑框架与核心特质,其对中国古典文论的化用也给当代的异质性比较诗学注入了崭新的活力。Through the understanding of Chinese classical poetry, Zhu Guangqian not only extended Groce＇ s ＂gut feeling＂ from speculative philosophy thinking mode to the aesthetic psychological experience, but at the same time constructed the modern Chinese aesthetics on the basis of Blow＇ s ＂Distance＂ and Lips＇ s ＂theory of imitation＂, ＂empathy＂. Groce＇ s mind philosophy theory was transformed by Zhu Guangqian into a peaceful contemplation of aesthetic experience. Zhu Guangqian＇ s aesthetic empiricism included the aesthetic intuition and the aesthetic dis- tance, which was the core and the framework of his theory. It has injected new vitality to the application of Chinese classical literary theory and the heterogeneity of contemporary comparative poetics.

关 键 词：朱光潜 直觉说 凝神静观 神思 审美距离 

分 类 号：B83-0[哲学宗教—美学]