追溯人本生态美学的近代源头——康德“自然辩证法”的生态思维内涵阐释  

Tracing the Modern Origin of Humanistic Ecological Aesthetics:On the Connotation of Ecological Thinking in Kant’s“Dialectics of Nature”

作　　者：曾永成 Zeng Yongcheng

机构地区：[1]不详

出　　处：《鄱阳湖学刊》2023年第3期80-89,126,共11页Journal of Poyang Lake

摘　　要：康德的“自然辩证法”,以有机系统中部分与整体关系的原理为自然事物生成的先验根据,蕴含了深厚的生态思维内涵,与植根于马克思“自然向人生成”说的人本生态美学精神相通,可以说就是后者的思想源头。它们在自然目的论的共同基础上生发的生态思维,从根本上决定了美和审美的生态本性,并且突破流行的把美学等同于审美学的观念,回归到康德美学的美生本体论的整体性格局。在康德美学对音乐感觉的论述中,还可看到与人本生态美学节律感应论的联系。Kant’s“dialectics of nature”,based on the principle of the relationship between parts and wholes in organic systems as the a priori basis for natural phenomena,contains profound ecological thinking and resonates with the spirit of human ecological aesthetics rooted in Marx’s theory of“nature as a generator of humans”.It can be said that Kant’s“dialectics of nature”serves as the intellectual source of the latter.Their ecological thinking,derived from a common foundation of teleology in nature,fundamentally determines the ecological nature of beauty and aesthetics.Moreover,they break away from the prevailing notion that equates aesthetics with aesthetics studies and return to the holistic framework of Kantian aesthetics’ontology of the genesis of beauty.In Kant’s discourse on the aesthetic sense of music,we can also see a connection with the rhythmic resonance theory of human ecological aesthetics.

关 键 词：自然目的论 自然辩证法 生态本性 美生本体论 节律感应 

分 类 号：N031[自然科学总论—科学技术哲学]