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本文是李世涛对杜书瀛的访谈,主要谈蔡仪美学,最后也谈了自己的美学主张。杜书瀛首先介绍了蔡仪先生的生平和美学思想,并提出自己的评价。蔡仪曾经留学日本,接受了马克思主义。他在20世纪40年代出版了《新艺术论》和《新美学》,这两部著作是当时中国美学和文艺理论学术最前沿的代表性著作。他是50年代的美学大讨论的最重要的美学家之一。从20世纪70年代到80年代,他重写了《新美学》,这部书是其美学思想的代表,他也是《美学原理》的主编。蔡先生是中国美学马克思主义学派的创建者之一;他是20世纪40年代中国最激进、最先进的美学家;他是中国现代美学的系统、完整体系的第一位构想者和实施者。杜书瀛继承了蔡仪美学精神,但他们的美学思想并不相同,杜书瀛提出并发展了人类本体论文艺美学。
This article is Li Shitao’s interview with Du Shuying, mainly about Cai Yi’s aesthetics, and finally his esthetic proposition. Du Shu Ying first introduced Mr. Cai Yi’s life and aesthetic ideas, and put forward their own evaluation. Cai Yi studied in Japan and accepted Marxism. He published “New Art Theory” and “New Aesthetics” in the 1940s. These two books are the foremost representative works of the academic circles of Chinese aesthetics and literary theory. He was one of the foremost estheticians in the aesthetics debates of the 1950s. From the 1970s to the 1980s, he rewrote “New Aesthetics,” a book that represented his aesthetic ideas and was also editor in chief of “Aesthetic Principles.” Mr. Cai is one of the founders of the Chinese aesthetical Marxist school. He was the most radical and advanced aestheist in China in the 1940s. He was the first thinker and implementer of the systematic and complete system of Chinese modern aesthetics. Du Shuying inherited Cai Yi’s aesthetic spirit, but their aesthetics is not the same. Du Shuying proposed and developed the humanistic ontology aesthetics of literature and art.