中華美學(xué)精神的當(dāng)代傳承

第一章 中華美學(xué)精神的含義與淵源 ························ 1
一、中國文化想象：他者與自我之間·························· 1
二、中華美學(xué)精神與國家文化戰(zhàn)略····························· 9
三、從中國藝術(shù)精神看中華美學(xué)精神························· 15
四、在中華美學(xué)精神與中國藝術(shù)精神的交接處············· 22
五、中華美學(xué)精神的當(dāng)代傳承及其意義······················ 24
第二章　 中華美學(xué)精神與中國藝術(shù)精神的多元性
及現(xiàn)代轉(zhuǎn)化 ············································28
一、中華美學(xué)精神與中國藝術(shù)精神的多元性和當(dāng)代性····· 28
二、中國傳統(tǒng)文化資源的現(xiàn)代轉(zhuǎn)化···························· 33
三、紅色經(jīng)典與紅色文化資源的現(xiàn)代轉(zhuǎn)化··················· 41
第三章　 中西美學(xué)的交互影響 ································48
一、西方美學(xué)的早期傳播········································ 49
二、王國維對中國美學(xué)的發(fā)現(xiàn)·································· 66
三、 宗白華借助西方生命哲學(xué)對中國美學(xué)生命精神的
揭示···························································· 78
四、葉朗對中國美學(xué)意象本體論的建構(gòu)······················ 99
五、西方現(xiàn)代美學(xué)對中國美學(xué)的借用······················· 106
六、西方當(dāng)代美學(xué)與中國古典美學(xué)的相遇················· 110
第四章 中華藝術(shù)經(jīng)典的海外傳播 ·························125
一、《紅樓夢》在海外的翻譯和傳播························· 126
二、“梁祝”母題的海外傳播和跨文化傳播················ 136
三、《茉莉花》的流傳形式與海外傳播······················ 149
第五章 當(dāng)代文學(xué)中的中華美學(xué)精神 ······················162
一、以“天人合一”追求人文精神的最高境界············ 163
二、以精神獨立而獲個體生命自由··························· 169
三、以和諧辯證法給予生命終極關(guān)懷························ 174
四、經(jīng)世濟民的擔(dān)當(dāng)之美與現(xiàn)實生活的美學(xué)批判·········180
第六章 當(dāng)代電影中的中華美學(xué)精神 ······················188
一、形與神：以形寫神·········································· 188
二、隱與秀：隱在秀中·········································· 193
三、情與景：情景交融·········································· 199
四、虛與實：虛實相生·········································· 203
五、氣與韻：氣韻生動········································· 208
六、儒與道：儒道合流·········································· 212
第七章 當(dāng)代美術(shù)中的中華美學(xué)精神 ······················216
一、全球化語境下的中國當(dāng)代美術(shù)與傳統(tǒng)·················· 216
二、中國當(dāng)代美術(shù)對傳統(tǒng)美術(shù)的承繼與發(fā)展··············· 218
第八章 當(dāng)代音樂中的中華美學(xué)精神 ······················243
一、先鋒音樂的幽遠回響······································· 246
二、新詩雅韻的中國歌唱······································· 255
三、中國樂派的美學(xué)精神······································· 260
第九章 當(dāng)代創(chuàng)意設(shè)計中的中華美學(xué)精神 ················ 265
一、中國當(dāng)代設(shè)計的美學(xué)溯源································· 268
二、創(chuàng)意設(shè)計與商品價值······································· 276
三、中國當(dāng)代設(shè)計的創(chuàng)意之路································· 285
第十章 互聯(lián)網(wǎng)時代中華美學(xué)精神傳播的機遇與挑戰(zhàn) ··· 298
一、中華美學(xué)精神的主要載體是中國藝術(shù)·················· 299
二、互聯(lián)網(wǎng)時代傳播的基本特征······························ 300
三、技術(shù)演進對藝術(shù)生產(chǎn)方式的影響························ 302
四、中華美學(xué)精神在互聯(lián)網(wǎng)時代傳播的機遇··············· 305
五、中華美學(xué)精神在互聯(lián)網(wǎng)時代傳播的挑戰(zhàn)··············· 306
六、中華美學(xué)精神在互聯(lián)網(wǎng)時代傳播的對策··············· 308
后　記 ····························································· 310