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作者简介：
汪济生，现为上海交通大学人文学院中文系教授，上海市美学学会理事。1982年毕业于华东师范大学，后留学日本，中国语言文学本科、历史学硕士及博士学历。曾任教复旦大学。主要论文有：《必须正视马克思恩格斯在人和动物界定问题上的区别》、《“劳动创造了美”还是“劳动生产了美”——对一个源自经典的实践美学核心命题的辨析与追踪》等。论著有：《美感的结构与功能》（学林出版社1984年出版）；《系统进化论美学观》（北京大学出版社1987年出版）；《经典人类起源说新辨——对学术界、美学界一块研究基石的质疑与重构》（学林出版社2004年出版）；《实践美学观解构——评李泽厚的<美学四讲>》（上海人民出版社2007年出版）。
About the Author:
Wang Jisheng, professor of the Department of Chinese at Humanity College, Shanghai Jiao Tong University and member of Shanghai Society of Aesthetics. In 1982, he graduated from East China Normal University and got Bachelor’s Degree of Chinese Language and Literature, and then, he went to Japan for further study and got Master’s Degree and Ph.D. of History. Upon returning to China, he taught at Fudan University for a certain period of time. His important dissertations and books are: “On the Difference between Marx and
Engels’ Definitions of Humans and Animals”, “‘Labor Created Beauty’ or ‘Labor Produced Beauty’? -- Analysis and Tracking of One Classical Core Proposition of the School of Practical Aesthetics”; The Structure and Function of Aesthetic Perception
(Xuelin Press, 1984), The Systematological and Evolutionist Aesthetic View (Peking University Press, 1987), A New Analysis of the Classical Theory on the Origin of Man -- Query and Reconstruction of One Cornerstone in Academic Circles and Aesthetic Field
(Xuelin Press, 2004), and The Deconstruction of the Theory of Practical Aesthetics -- On Li Zehou’s Four Discourses on Aesthetics (Shanghai People’s Press, 2007).
《美感概论：关于美感的结构与功能》（中英双语对照）
全书目录
目录
新版寄语
序/金开诚
小引
Ⅰ.上篇：从人体系统看美感结构
1.1系统部类分述 /5
1.1.1机体部 /5
1.1.2感官部 /7
1.1.3中枢部 /15
一级反射的概念 <本能、无条件反射、感觉>
二级反射的概念 <学能、条件反射、知觉>
所谓“积淀”现象的机制
所谓美感的“矛盾二重性”现象的机制
所谓“形式美”的内在机制
三级反射的概念<智能、创造性思维、情感>
美的概念求美本能在协调生命运动和客观世界运动关系中的微妙角色
劳动和所谓自由创造与美的关系的辨析
科学美的主要来源
一元论三层次美感体系概念
智育与美育的关系
1.2系统综合效应 /37
1.2.1基层的决定作用/37
对审美“距离说”的解构
1.2.2总体的决定作用 /45
精神美、道德美、社会美激发机制
崇高与滑稽的异色效应成因
对审美“移情说”的调节
美育的重要耕耘领域
1.2.3实感的决定作用 /49
道德观念、时尚观念、传统观念变迁的主要力源
探索性艺术、创新事物能否成活的主要决定因素
1.3美感的活动形态 /53
1.3.1美感活动的自然自在形态 /53
1.3.2美感活动的自觉自为形态——游戏、艺术活动 /55
1.3.2.1游戏、艺术分类的独立单元形态 /55
1.3.2.1.1机体部 /57
1.3.2.1.2感官部 /57
1.3.2.1.3中枢部 /59
1.3.2.1.3.1悬念性 /59
1.3.2.1.3.2情节性 /63
1.3.2.1.3.3共鸣性 /69
最高形态为纯文字艺术门类：小说
1.3.2.2游戏、艺术分类的综合形态 /75
1.3.2.2.1分中有合 /77
1.3.2.2.2合中有分 /85
“艺术起源于劳动说”辨析
1.3.2.2.3愈分愈合 /109
现代最高形态为综合审美元素最多的艺术门类：电影
Ⅱ.下篇：从生命进化（和社会进步）看美感功能
2.1三部类的关系 /115
2.2审美学的探讨 /119
2.2.1美感与进化 /119
美感的进化导向功能
人体各部分在进化中的因果互动关系
2.2.2谋生与游戏 /121
谋生<包括劳动>活动与游戏<包括艺术>活动在人类进化中既区别又互
补的微妙关系
2.2.3向往与现实 /123
优秀文艺作品的造梦因素的成因及社会进步功能
理想、浪漫主义文艺与批判、现实主义文艺的互补进步机制
独创性艺术家与独创性思想家的非同步性与互补性
2.2.3.1给自动以地位 /127
独创性艺术活动中非理性成分的自然性、合理性及其意义
2.2.3.2给自觉以规范 /145
独创性艺术活动中理性成分的必要性、表现形态及其限度
2.2.3.3立典型于情感 /171
审美的欣赏和创作中情感活动的首要地位、进步定向功能及其原理
结束语 /195
初版后记 /199
英文注释 /200
附录一：美感活动规律在电影艺术鉴赏实践中的部分表现 /204
1.影片《新龙门客栈》与《十面埋伏》观赏效应比较 /205
2.影片《新龙门客栈》与《蜀山传》鉴赏效应抽样统计比较 /212
3.影片《神话》与《无极》鉴赏效应抽样统计比较 /216
4.影片《神话》与《夜宴》鉴赏效应抽样统计比较表 /222
5.《美人计》等六部影片鉴赏效应抽样统计比较 /226
附录二：有关专家关于笔者著作的评论摘要 /233
跋 /238
Contents
The Author’s Words
Preface by Jin Kaicheng
Foreword
I. The Structure of Aesthetic Perception Seen from the Human Body System
1.1 Expositions on Systems and Categories /4
1.1.1 The Category of Organisms /4
1.1.2 The Category of the Sense Organ /6
1.1.3 The Category of the Central Nerve /14
The concept of first-level reflex <instinct, unconditioned reflex, sensation>
The concept of second-level reflex <acquiring ability, conditioned reflex, perception>
The mechanism of the so-called phenomenon of “accumulation”
The mechanism of the so-called phenomenon of “contradictory duality of aesthetic
perception”
The internal mechanism of the so-called “formal beauty”
The concept of third-level reflex <intellectual ability, creative thinking, emotion>
The concept of beauty The delicate role of beauty-pursuing instinct in harmonizing the
relationship between life activities and the objective world
The analysis of the relationship between labor and beauty as well as that of the so-called
“free creation” to beauty
The main source of scientific beauty
The concept of the monist three-level system of aesthetic perception
The relationship between intellectual education and aesthetic education
1.2 The Integrated Effects of Systems /36
1.2.1 The Decisive Function of Essence /36
The deconstruction of the “theory of distance” in aesthetic appreciation
1.2.2 The Decisive Function of Majority /44
The trigger mechanisms of spiritual, moral, and social beauty
The causes of the unusual effects of loftiness and funniness
The adjustment of the “theory of empathy” in aesthetic appreciation
The important fields in aesthetic education
1.2.3 The Decisive Function of Reality /48
The main sources of impetuses for the changes in moral, fashion, and traditional conceptions The main decisive factor for whether or not exploratory arts and innovative things could be
alive and well
1.3 The Form of Aesthetic Activity /52
1.3.1 The Natural Form of Aesthetic Activity /52
1.3.2 The Conscious Form of Aesthetic Activity – Game and Art /54
1.3.2.1 The Single Form of Game and Art /54
1.3.2.1.1 The Category of Organisms /56
1.3.2.1.2 The Category of the Sense Organ /56
1.3.2.1.3 The Category of the Central Nerve /58
1.3.2.1.3.1 The Character of Suspense /58
1.3.2.1.3.2 The Character of Plot /62
1.3.2.1.3.3 The Character of Sympathy /68
The highest form is novel – a pure literary and artistic category
1.3.2.2 The Comprehensive Form of Game and Art /74
1.3.2.2.1 Unification in Split /76
1.3.2.2.2 Split in Unification /84
The analysis of the “theory of art originating from labor”
1.3.2.2.3 The More It Is Split, the More It Is Unified /108
The highest modern form is film – the artistic category with the maximum comprehensive
aesthetic elements
II. The Function of Aesthetic Perception Seen from the Human Evolution (and Social Progress)
2.1 The Relations among the Three Categories /114
2.2 Aesthetic Exploration /118
2.2.1 Aesthetic Perception and Evolution /118
The functions of aesthetic perception in guidance of evolution
The causal and interactive relationships between each part of the human body in evolution
2.2.2 Subsistence Activity and Game /120
The delicate distinctive and complementary relationships between subsistence activity
<including labor> and game <including art> in human evolution
2.2.3 Yearning and Reality /122
The causes of dream-creating factors in good literary and artistic works and their functions in
social progress
The mechanism of mutual progress between idealist, romanticist literature and art and
critical, realist literature and art
The asynchronism and complementariness between original artists and original thinkers
2.2.3.1 To Give a Niche to Spontaneity /126
The naturalness, reasonableness and significance of irrational factors in original artistic
activities
2.2.3.2 To Standardize Consciousness /144
The necessity, form of expression, and limitations of rational factors in original artistic
activities
2.2.3.3 To Establish Typicality in Emotion /170
The leading position and progress-oriented functions of emotional activity in aesthetic
appreciation and creation and its principles
Conclusive Remarks /194
Postscript for Edition 1 /198
Notes /200
Appendix 1: Partial expression of the law of aesthetic activity in film /204
(1) The comparison between New Dragon Gate Inn and House of Flying Daggers
in effects of appreciation /205
(2) The comparison between New Dragon Gate Inn and The Legend of Zu in
effects of appreciation by spot check method /212
(3) The comparison between The Myth and The Promise in effects of appreciation
by spot check method /216
(4) The comparison between The Myth and The Banquet in effects of appreciation
by spot check method /222
(5) The comparisons among six films including Notorious in effects of
appreciation by spot check method /226
Appendix 2: Extracts of some experts’ comments on the author’s works /233
Postscript /238
中国美学国际网站
发稿2008.8.20
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