發(fā)布時間：2019-01-04 19:28

【摘要】：新中國的美學(xué)從美的定義起步,到定義的熱情成為明日黃花而陷入窘境。相比較伯克和康德美學(xué)兩分美與崇高,中國美學(xué)對崇高的關(guān)注顯得單薄。當代中國正在進入審美過剩的時代,殊有必要呼喚崇高。蔣孔陽把崇高稱為"驚奇與痛苦"的美,將之視為被提高的本質(zhì)力量的對象化,尤其強調(diào)人的本質(zhì)理論不是抽象的概念,而是生生不息的生命力量,這應(yīng)是凸顯了崇高的生命意識。埃德蒙·伯克判定崇高源于痛苦,美源于快感,其論證崇高雖然多舉譬自然界例子,但其中語詞的崇高一端,多為國內(nèi)美學(xué)家忽略。語詞的崇高,說到底還是生命體驗的表征,誠如伯克所言,以語詞的力量來摹寫崇高,可以較之自然事物更勝一籌。
[Abstract]:New Chinese aesthetics starts from the definition of beauty to the passion of definition. Compared with Burke's and Kant's aesthetics, Chinese aesthetics pays little attention to sublimity. Contemporary China is entering the era of aesthetic excess, it is necessary to call for sublime. Jiang Kongyang called sublimity the beauty of "surprise and pain", and regarded it as the objectification of the enhanced essential power, emphasizing in particular that the theory of human nature is not an abstract concept, but an everlasting force of life. This should highlight the noble consciousness of life. Edmund Burke decided that sublimity originates from pain and beauty from pleasure. Although his argumentation of sublimity is often similar to that of nature, the sublime end of words is mostly ignored by domestic aestheticians. The sublimity of words is, in the final analysis, a representation of life experience. As Burke put it, the power of words to describe sublimity can be superior to that of nature.
【作者單位】： 復(fù)旦大學(xué)中文系;
【分類號】：B83-092

【共引文獻】

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