中华美学精神的当代传承

章 中华美学精神的含义与渊源 ························ 1
一、中国文化想象：他者与自我之间·························· 1
二、中华美学精神与国家文化战略····························· 9
三、从中国艺术精神看中华美学精神························· 15
四、在中华美学精神与中国艺术精神的交接处············· 22
五、中华美学精神的当代传承及其意义······················ 24
第二章　 中华美学精神与中国艺术精神的多元性
及现代转化 ············································28
一、中华美学精神与中国艺术精神的多元性和当代性····· 28
二、中国传统文化资源的现代转化···························· 33
三、红色经典与红色文化资源的现代转化··················· 41
第三章　 中西美学的交互影响 ································48
一、西方美学的早期传播········································ 49
二、王国维对中国美学的发现·································· 66
三、 宗白华借助西方生命哲学对中国美学生命精神的
揭示···························································· 78
四、叶朗对中国美学意象本体论的建构······················ 99
五、西方现代美学对中国美学的借用······················· 106
六、西方当代美学与中国古典美学的相遇················· 110
第四章 中华艺术经典的海外传播 ·························125
一、《红楼梦》在海外的翻译和传播························· 126
二、“梁祝”母题的海外传播和跨文化传播················ 136
三、《茉莉花》的流传形式与海外传播······················ 149
第五章 当代文学中的中华美学精神 ······················162
一、以“天人合一”追求人文精神的境界············ 163
二、以精神独立而获个体生命自由··························· 169
三、以和谐辩证法给予生命终极关怀························ 174
四、经世济民的担当之美与现实生活的美学批判·········180
第六章 当代电影中的中华美学精神 ······················188
一、形与神：以形写神·········································· 188
二、隐与秀：隐在秀中·········································· 193
三、情与景：情景交融·········································· 199
四、虚与实：虚实相生·········································· 203
五、气与韵：气韵生动········································· 208
六、儒与道：儒道合流·········································· 212
第七章 当代美术中的中华美学精神 ······················216
一、全球化语境下的中国当代美术与传统·················· 216
二、中国当代美术对传统美术的承继与发展··············· 218
第八章 当代音乐中的中华美学精神 ······················243
一、先锋音乐的幽远回响······································· 246
二、新诗雅韵的中国歌唱······································· 255
三、中国乐派的美学精神··················&