作　　者： ;

机构地区： 香港中文大学

出　　处： 《美育学刊》 2013年第5期70-77,共8页

摘　　要： 在《无言之美》中,朱光潜将《拉奥孔》中纯形式的美阐释为表现的美,凸显个体解放的意义,体现出朱光潜希望以美学的方式解决人生问题的伦理意图与求善意识。在《诗论》中,朱光潜将《拉奥孔》的诗画关系,引申为对中国诗歌的类型特征的讨论,以美学的方式为中国古典经验寻求合法性。而在写作《西方美学史》前后,朱光潜对《拉奥孔》的翻译与阐释从历史唯物主义出发,将诗画关系还原到莱辛所处的德国启蒙运动的具体语境中去:美的本质最终落到历史唯物主义的上层建筑与经济基础之间的关系中。朱光潜的这一转变,既源于以"真实性"为追求的马克思主义外部作用,同时也是其美学自身学理逻辑演绎发展的结果。 In his essay Beauty of Silence, Zhu Guangqian cited Laocoon to solve life problems in an aesthetic way, so he interpreted the formal beauty as expressional beauty, emphasizing its function of making individuals free. In On Poetry, Zhu Guangqian discussed the characteristics of the genres of Chinese poetry, depending on the relationship between poetry and art expounded in Laocoon. He did not make much of the function of aesthetics to solve life problems, but preferred to search for the validity of ancient Chinese experience in an aesthetic way in the modem world. During the writing of History of Western Aesthetics, Zhu Guangqian explained the relationship between poetry and art in the context of German Enlightenment Campaign. The essence of beauty can only be located in the relationship of superstructure and economic foundation. This change of Zhu Guangqian is the outcome both of Marxism as an outside influence and of his inner development.

关 键 词： 朱光潜 拉奥孔 理论旅行 中国美学

领　　域： [哲学宗教—美学]