集体无意识和审美积淀说.docVIP

集体无意识和审美积淀说摘? 要：二十世纪中西方美学在反传统的基础上呈现出人本主义和科学主义两大走势，与古典人本主义提倡理性、发扬个性、倾向唯物主义的特点不同，二十世纪人本主义美学以非理性主义、反理性主义和唯心主义为基本特征，在这一美学思潮中发展起来的以弗洛伊德和荣格等人为代表的精神分析学派对二十世纪中西方美学和文艺创作产生了广泛影响，在我国，李泽厚的“审美积淀说”就是受荣格“集体无意识”理论影响而提出的新观点。我们认为对这两种观点和理论进行比较研究，无论是对于作家的创作实践，还是对于当代美学中基础理论的研究和比较美学体系的建构皆具有重要的参照借鉴作用。本文将着眼于两者的互补性，从理论思路和归宿、整体内含和结构、主体研究和意义等四个层面展开论述。 Abstract: In the 20th century, on the basis of anti-tradition, both Chinese and western aesthetics showed two main tendencies: humanism and scientism. Contrary to the classical humanism, which advocated rationalism, individulism and materialism, the aesthetics of humanism in the 20th century bore the characteristics of non-rationalism, anti-rationalism and idealism. Form this trend of aesthetic thought developed the psychoanalysis school, whose representatives were Freud and Jung, and which had a great influence on Chinese and western aesthetics and literary and artistic creation in last century. In China, Li Ze-hou introduced his new idea of “Aesthetic Accumulation” from Jung’s collective unconsciousness theory. It is believed that a comparative study on these ideas and theories will be of great help not only for our study on modern basic theory of aesthetics but also for our construction on comparative aesthetic system. This paper focuses on the complementary quality of the two theories and discusses it in four aspects: thought and destination of the theory, whole conservation and structure, subjective study and meaning etc. ???  关键词：集体无意识，审美积淀，文化心理结构, 审美实践 Keyword: Collective unconsciousness, Aestheticaccumulation, Culture-psychology forming, Aesthetic practice  在过去的二十世纪，美学、文艺学领域产生了极其明显的变化，也取得了丰硕的研究成果，理论家们开始从人类学、心理学、考古学、神话学等不同角度进行了深入的探索和研究，进而开启了通向认识人类心灵潜质的新视角，为中西方美学、文艺学的沟通及比较研究提供了坚实的基础。我们认为在众多的理论主张和观点之中，荣格的“集体无意识”概念、心理原型理论与李泽厚的审美积淀说影响大，波及的范围广，他们的观点无论对于作家的创作实践，还是对当代美学中基础理论的研究和比较美学体系的构建，皆具有重要的参照借鉴作用。一 两种思路、两种归宿? ? “集体无意识（collective unconsciousness）”是荣格全部理论的中心范畴，也是他原型美学的前提性假设。他把意识区分为个人无意识和集体无意识，个人无意识“主要是一些我们曾经意识到，但以后由于遗忘或压抑而从意识中消失了的内