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作 者:朱仁金[1]
出 处:《北方论丛》2014年第4期28-33,共6页The Northern Forum
摘 要:朱光潜的美学思想融贯了中西美学两大传统,《诗论》1是这一特点的集中代表:朱光潜借助西方美学不断克服和突破中国传统诗论的"零乱琐碎",并使其体系化和系统化。格罗塞及其代表作《艺术的起源》对朱光潜产生过至关重要的影响。朱光潜《诗论》与格罗塞《艺术的起源》的相关研究至今尚未得到应有的重视。文章以此为契机,从内容书写、观点承续以及篇章结构等方面对《艺术的起源》与《诗论》进行详细解读,从而揭示格罗塞《艺术的起源》对朱光潜《诗论》的深刻影响;同时,朱光潜接受格罗塞美学思想并不是亦步亦趋的,而是在历史与现实的碰撞中提出了截然不同的艺术起源论:艺术不受生产方式决定,而是基于心理学的根源;文艺表现个体性价值。The aesthetic thoughts of Chu Kwang-tsien was impelled by both Chinese and western aesthetic traditions , and On Poems was the very representative works of such feature.In that book, on the basis of western aesthetics, Chu Kwang-tsien constantly overcame and broke through the Chinese traditional poetic system which called “illogical and irrational” by him in order to make it more systematized.During this course of solving that problem, there was a man and a book exerting a crucial influence on Chu Kwang-tsien, that was Ernst Grosse and his book, The Beginnings of Art.But so far, the correlational studies in China involved in On Poems by Chu Kwang-tsien and The Beginnings of Art by Ernst Grosse hasn ’ t deserved attentions.For this reason, embarking on the content of writing, viewpoints of inheritance and textual structure between these two books to make a detailed interpretation would reveal the profound influence of The Beginnings of art on On Poems.However, encountering the clash of tradition and reality, Chu Kwang-tsien presented a different theory of the origin of arts from the aesthetic thoughts of Ernst Grosse:arts were rooted in psychology rather than determined by the mode of production; literature and arts expressed themselves and their own individual values. Therefore, On Poems is not only worthy of our further research, but also can reveal the profound connotation and specific character of Chu Kwang-tsien’ s aesthetic thoughts, which has some reference significance to disclose the progress of modern transformation of Chinese traditional aesthetics, as well as the construction of Chinese local discourse theory.
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