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从现代美学和艺术的关系理论来重新审视20世纪朱光潜和梁实秋关于“文学的美”的争论会发现,本来争论的逻辑结果是可能导致中国学者尽早融入到世界美学大潮中去的。朱、梁美学观都有一定反“形上学”的特点。朱光潜对意境的分析,梁实秋对文学艺术和绘画艺术的分别,都有积极的理论意义,但总体上还是采用古典传统的分析方法,所以,对精神价值科学和自然科学的界限还不能划分得很清楚。尽管朱光潜对于美和艺术关系的理论要比梁实秋系统、成熟些,不过从现代美和艺术的关系厘定看,朱与梁的分歧恐怕也只是“五十步笑百步”的差别。
From the relation between modern aesthetics and art, we can see that the controversy of Zhu Guangqian and Liang Shih-ch’iu about the beauty of literature in the 20th century will find that the logical result of the original controversy may lead Chinese scholars to integrate into the world aesthetics as soon as possible. Zhu, Liang aesthetic view has a certain anti- “Metaphysics ” characteristics. Zhu Guangqian’s analysis of artistic conception, Liang Shiqiu’s positive and theoretical significance on the differences between literature and art and painting art, but on the whole still adopts the classical and traditional methods of analysis. Therefore, the boundary between spiritual value science and natural science can not be well defined clear. Although Zhu Guangqian’s theory of the relationship between the United States and the arts is more systematic and mature than that of Liang Shiqiu, the difference between Zhu and Liang is probably only the difference between “fifty steps and a hundred steps” as far as the relationship between the modern beauty and the arts is concerned.