【作者】 罗玉红；

【导师】 杨小清； 朱寿兴；

【作者基本信息】 广西师范大学 ， 美学， 2006， 硕士

【摘要】 苏珊·朗格是西方美学史上赫赫有名的女性美学家。她是符号论美学的集大成者和最终完善者。她兼有艺术家的灵气、哲学家的睿智和逻辑学家的严谨。朗格以女性独特的敏锐性和领悟力来观察和思考艺术问题,她的美学思想内容丰富,观点鲜明独到,在当代西方美学史上占有重要的地位。她从符号这个独特的视角来研究艺术问题,提出了独树一帜的艺术定义——“艺术是人类情感符号形式的创造”,且以这一全新的命题为核心,构筑了一种艺术符号美学的理论体系。朗格的艺术符号美学思想有两个主要理论来源,一是怀特海的逻辑符号论,二是卡西尔的人类文化符号论。怀特海对朗格的影响主要是思维方式上的。卡西尔对朗格的影响主要是内容上的,他的符号学观念对朗格的符号美学思想产生了直接而深刻的影响,可以说是决定了朗格美学的构成。朗格艺术符号美学主要由艺术符号论、艺术幻象论、生命形式论、审美直觉论四根支柱构成,这四个方面分别论述了艺术的本质、艺术的创造、艺术的特质、艺术的欣赏,环环相扣、逐层递进,构成了一个较为严密的美学体系。且这个美学体系是建立在新符号论的基础之上,又兼采表现主义、形式主义、直觉主义等美学流派之长,融合了心理学、生理学、逻辑学等多学科的研究背景,最终成为20世纪美学流派的代表。音乐是朗格研究艺术的起点。朗格的音乐美学是其艺术符号美学的一个重要组成部分,其艺术符号美学缺少音乐美学就会不完整;反之,朗格的艺术符号美学又是其音乐美学的理论前提,音乐美学的展开和深入是以艺术符号美学中对基本概念的阐释为基础的。本文从有意味的情感符号、可听的虚幻的时间、活的艺术品、同化原则四个方面来归纳和论述了其音乐美学思想,揭示出朗格作为一个符号论美学家在论述音乐美学方面的独特性,同时论述了其音乐美学思想对音乐艺术的启示意义。朗格对音乐的本质的看法承袭了爱德华·汉斯立克的观点,但二者对音乐的内容与形式问题和音乐的情感问题的观点是截然不同的。朗格主张音乐是表现人类情感,认为音乐的内容与形式是相辅相成、不可或缺的辩证统一关系;汉斯立克则主张音乐不表现情感,认为音乐的内容与形式是同一个东西,内容即形式,形式即内容。通过二者的比较可以看出,朗格的观点是较科学的辩证观点,对音乐艺术的创作具有更大的意义。更多还原

【Abstract】 Susanne K. Langer was a famous female philosopher of weatern aesthetic history. She was the pool person of symbolic aesthetics, and had the characteristics of wisdom of artist, intelligence of philosophy and rigor of logician. Langer’s aesthetic thought was very rich, her viewpoints were distinct and original, and she observed and thought about artistic problem with female unique acute senses and comprehensive power. So her aesthetic thought had an important position in the western aesthetic history. She studied artistic problem from the unique symbolic perceptive, and raised a distinct artistic conception—“art was the creation of human emotional symbol”, then focused on this composition she constructed the theory on artistic symbolic aesthetic.Langer’s artistic symbolic aesthetic thought had two main theoretical resources, the first one was Whitehead’s logical semiotics, and the second one was Cassirer’s human cultural semiotics. The influence of Whitehead mainly was thinking pattern. The influence of Cassirer was mainly content, whose symbolic idea influenced Langer’s symbolic aesthetic thought directly and deeply, and we can say that it decided the construction of Langer’s aesthetics. Langer’s artistic symbolic aesthetics were composed of artistic semiotics, artistic mirage theory, life form theory and aesthetic intuition theory. And these four parts displayed artistic essence, artistic creation, artistic characteristics and artistic appreciation respectively, and they were roundabout and increased step by step, and built a rigorous aesthetic theory. Furthermore this aesthetic theory based on new-semiotics and adopted many virtues of representationalism, formalism and intuitionism and merged the theoretical background of psychology,physiology and logic,it became the representative of 20 century aesthetic schools finally.Musical aesthetics was the starting point of Langer’s research about art. Langer’s musical aesthetics was an important part of her artistic symbolical aesthetics which would be not integral without musical aesthetics;at the same time Langer’s artistic symbolic aesthetics was the theoretical premise of her musical aesthetics which developed and deepened under the basis of artistic symbolic aesthetics. This essay inducts and displays her musical aesthetics from four aspects of flavor feeling symbol, audible illusive time, living arts and the assimilated principle of music, then recovers that as a symbolic aesthete Langer had her own characteristics in the process displaying musical aesthetics. Thus Langer’s musical aesthetics had the great inspiration and meaning to musical art.Langer’s viewpoints of musical aesthetics inherited Eduard Hanslick’s, but they were different about musical intent and form and musical feeling problem. Langer proposed that music was to represent human feeling and stood for the dialectical relationship between musical intent and form which were supplement and complement each other; but Hanslick proposed that music couldn’t represent feeling and intent was form, form was intent, then belonged to one. Contrary to them we can see that Langer’s viewpoints were more scientific.更多还原