李泽厚美学思想的内在张力

为探索当代美学家李泽厚一生的美学思想的发展轨迹，对李泽厚不同时期的关学著作做一番鸟瞰式的考察，分析其关学观中感性与理性、偶然与必然、个体与群体这些美学概念之间存在的不可调和的张力结构。分析认为，20世纪五六十年代的李泽厚因其“美是客观性与社会性的统一”关学观被称为“客观社会派”的代表人物；20世纪七八十年代的他在马克思主义实践观的基础上提出了“制造一使用工具”的“工具本体论”思想；20世纪90年代的李泽厚更加重视人的“主体性”，提出了“情本体”的关学观。分析结果表明，李泽厚前、中、后三期的美学观有其内在的逻辑规律：从机械主义走向神秘主义，从群体抽象的人到个体具体的人，从深层历史学到深层心理学，后期的李泽厚力图摆脱早、中期对理性的过分的崇拜、对必然性的依赖，转向倡导个体的感性自由、张扬人的个性色彩。

Internal tension structure of LI Ze-hou's aesthetics

LI Ze-hou＇s works are discussed in this paper in order to find the course of all his life, and make a discovery of the internal tension structure between perceptual and reason, between contingence and inexorable law, between individual and collective. In the 1950＇s and the 1960＇s, LI Ze-hou was acknowledged as the representative of ＂objective socialist＂ for his aesthetic idea of ＂the integration of objectivity and sociality＂. Then he advanced a theory of ＂ tool ontology＂ of ＂manufacture - utilization tool＂ in the 1970＇s and the 1980＇s. In his later stage, LI Ze-hou attached more importance to ＂man-oriented＂ direction, and furthered his aesthetic view of ＂patho-ontology＂. LI Ze-hou＇s life-long philosophical aesthetics has developed under an internal logic rule, exclusively presented an internal tension, and betrayed a limitation of his aesthetics on the interpretation of the classic aesthetic texts. However, LI Zehou＇s aesthetic, from mechanism to mysticism, from people abstracted to concrete individual and from deep-layered history to deep-layered psychology, is somewhat not so argumentative with its logic confusion, thus difficult for self-justification.