从朱光潜译黑格尔《美学》注释修改看其后期美学  

On Zhu Guangqian’s Later-Stage Aesthetic Research from His Annotation and Modifications in His Translation of Hegel’s Aesthetics

作　　者：宛小平[1,2] Wan Xiaoping

机构地区：[1]安徽大学哲学系,合肥230000 [2]安徽师范大学朱光潜暨皖籍现代美学家研究中心,芜湖241003

出　　处：《清华大学学报（哲学社会科学版）》2020年第6期116-131,202,共17页Journal of Tsinghua University(Philosophy and Social Sciences)

基　　金：国家社会科学基金重大项目“朱光潜、宗白华、方东美美学思想形成与桐城文化关系研究”(17ZDA018)。

摘　　要：金惠敏先生认为朱光潜翻译黑格尔《美学》1958年版本的注释还保留早年"为文艺而文艺"的观点,到了1979年版本的注释则完全受到"左"的影响转而批判"为文艺而文艺"的观点,不可取。从朱光潜自己珍藏的对1958年版的"校改本",可以看到他为什么在1979年版本里注释作了重要修改的思想痕迹。金先生的看法代表学术界一种典型误读朱光潜美学的观点,通过对两个版本的深入比较,不难发现,朱光潜翻译黑格尔《美学》1958年版本到1979年版本的注释的修改反映了后期美学思想融入了马克思的实践观,这才是真相。According to Dr.Jin Huimin,the annotations of Zhu Guangqian’s 1958 Chinese version of Aesthetics is characterized by his early-year belief,art and literature are produced for their own sake,while those of the 1979 version was completely dominated by the Leftist ideology,which is proved by his own criticism of the early-year ideal,and Jin Huimin is against it.The author has kept Zhu Guangqian’s manuscripts of the 1958 revised edition,which demonstrated the mental reasons and transitions for the significant changes of annotations in 1979 version.The author differs with Jin Huimin’s opinion,seeing that his opinion is a stereotyped misreading of Zhu Guangqian’s aesthetics held by Chinese and overseas scholars,including some from Taiwan and Hong Kong.This paper shows Zhu Guangqian’s assimilating Marxist viewpoint of practice into his later-stage aesthetic research,which is a very truth reflected in his alterations of annotations from the 1958 version to that of 1979.

关 键 词：朱光潜美学 黑格尔《美学》 为文艺而文艺 马克思 实践 

分 类 号：B83-0[哲学宗教—美学]