李泽厚

从主体性实践哲学到教育学中心思想&李泽厚的建立主体性学说述评

From the Philosophy of Subjective Practice to the Thought of Education Focus

李泽厚与陈炎的儒道互补研究之比较

Contrast on Study of Complementary Confucianism and Taoism between

李泽厚与20世纪后半期中国美学

LI Ze-hou and the Chinese aesthetics in the latter half of 20th century

另一方面，李泽厚在文化心理结构的设定中，审美心理结构处于核心地位，因此，他对情感本体的推崇也不难理解。

Secondly , the aesthetic structure is the core of the culture psychological structure .

李泽厚有一个观点，形象思维是个性化与本质化的同时进行。

Li Zehou holds that imagery thinking is a combination of both specification and generalization .

李泽厚美学批判

Critique of LI Ze-hou 's Aesthetics

李泽厚把他的本体论叫做人类学本体论，并把审美与艺术置于人类本体之上。

Li Zehou names his noumenon anthropologic noumenon and puts aesthetic and art above human noumenon .

艺术：情感本体的物态化形式&李泽厚艺术思想述评

Art : the Materialization Form of the Emotional Noumenon & Comments on Li Ze-hou 's Aesthetic Ideas

开端与启蒙：李贽的教育思想及其现代意义论孔子对异端思想的态度&兼与李泽厚先生商榷

Heresy and Enlightenment & The Education Thought of Li Zhi and His Modern Meaning ; Confucius ' Attitude Towards Heretical Ideology

80年代，随着《1844年经济学&哲学手稿》的论争，李泽厚实践论美学不断深化；

1980s , along with the debate of " in 1844 Economic Philosophy Draft manuscript ", LI Ze-hou 's practical aesthetics deepens unceasingly ;

李泽厚是新中国诞生以来最杰出的美学家，他是实践美学的创立者和代表人物。

Li Ze-hou is regarded as the most distinguished aesthetician . he is the founder and representative figure of " practical aesthetics " .

李泽厚较早地运用马克思主义实践观点，从物质生产实践这个根本上来阐释美的本质，并提出美是客观的、社会的。

According to Marxist practical conception , Lizehou explained the essence of beauty and believed that essence of beauty is objective and socialized .

这个概念既体现了李泽厚一贯坚持的主体实践哲学，又结合了他对中国传统思想的创新理解。

This concept showed the persistence of Li Ze-hou to " subject practice philosophy ", combining his innovative understanding to Chinese traditional thought .

李泽厚美学是20世纪后期处于中国美学主流地位的实践论美学的杰出代表。

LI Ze-hou 's aesthetics is outstanding representative of Chinese aesthetics mainstream position on " practical aesthetics " in the later period of 20th century .

就其基本内涵上来说，李泽厚的情也不仅仅只是指狭义上的人的喜怒哀乐的情感，而是一种更广意义上的人的感性生命存在。

For its basic connotation of " emotion ", Li Ze-hou narrow sense not only refer to the joys and sorrows of emotions , but a broader sense of perceptual life exists .

二十世纪荣格的“集体无意识”理论与李泽厚的审美积淀说影响大，波及的范围广，但目前学术界对这两种理论存在着不同程度的误读。

In the 20th century , Jung 's collective unconsciousness theory and LI Ze-hou 's idea of aesthetic accumulation had not only produced great impact but also been in great extensive range .

这两方面相结合其实正是人的内在主体性和外在主体性的规定性的统一，也就是逻辑和历史的统一，也正是李泽厚所说的内在自然的人化和外在自然的人化的统一。

The two respects is the intrinsic and extrinsic regularity of man in fact . It is uniting logic and history , " intrinsic natural personalization " and " extrinsic natural personalization " .

考察李泽厚实践论美学的发展历程，对把握20世纪中国美学的学术进程和构建21世纪中国美学的现代体系，都具有重要的理论意义和实践价值。

Inspects the development course of LI Ze-hou 's practical aesthetics , has the important theory significance and the practice value to grasps the academic advancement of the 20th century Chinese aesthetics and constructs modern system of the 21st century Chinese aesthetics all .

李泽厚主体性实践美学对人的问题的特别关注，充分显现了其美学的现代性特质，使其在中国现代美学中占有突出地位。

Li Ze-hou 's practical aesthetics about subject nature pays more attention to the topic about human beings , which shows that his aesthetics thoughts have sufficient modernity characteristics , and which makes him in a prominant position in the contemporary aesthetics history of China .

细究李泽厚具体的美学文本，其美学历程可划分为三个阶段：五十年代的反映论美学、六十年代的实践论美学和七八十年代的人类学本体论美学。

By studying closely Li ' aesthetic works , we can divide his aesthetic career into three stages : aesthetic theory of reflection in the 50 's , aesthetic theory of practice in the 60 's and anthropology and ontology of aesthetics in the 70 's to 80 's.