摘要
历来对于戴震思想的研究,大多从哲学或思想史角度揭示其启蒙意义,从美学角度的分析却很罕见。原因在于当前美学史研究的观念和方法具有较强的理论预设性,将非美学学科框架内的思想排除在美学史之外,导致美学史的梳理无法揭示内在生成机制。解决这一问题的关键在于转变美学研究的范式,应研究审美关系的构成要素,并梳理各要素的历时性演变,考察美学历史演进的生成机制。正是在这个意义上,戴震思想的美学意义得以凸显,其对于人学本体论的重构对中国美学的现代转型具有重要的理论奠基意义。
The studies on the thoughts of Dai Zhen has always focused on his significance in enlightenment from the perspective of either philosophy or history of thoughts, while an aesthetic analysis of his thoughts is rare in the studies for the reason that theoretic presupposition always dominates the research concept and methods of the studies on aesthetic history, which excludes the thoughts outside of the discipline frame from aesthetic history, so that the overview of aesthetic history is unable to reveal its inner formation mechanism. The solution depends on a paradigm transformation of aesthetic studies, focusing instead on the formation elements of aesthetic relations and the diachronic changes of the elements so as to explore the formation mechanism of the historical evolution of aesthetics. It is in this sense that the aesthetic significance of Dai Zhen's thoughts should be highlighted, and his reconstruction of humanity ontology would lay a theoretic foundation for the modern transformation of Chinese aesthetics.
出处
《上海文化》
CSSCI
北大核心
2017年第2期106-115,127,共11页
Shanghai Culture
