中華美學(xué)精神的內(nèi)涵深刻、內(nèi)容豐富，貫穿了藝術(shù)創(chuàng)作的始終，對(duì)文藝創(chuàng)作具有鮮明的指導(dǎo)意義。本書立足于我國(guó)當(dāng)代各藝術(shù)門類領(lǐng)域中的作品、現(xiàn)象，通過研究中華美學(xué)精神的含義、現(xiàn)代性轉(zhuǎn)化、與西方諸美學(xué)思想的比較等方面獲得理論依據(jù)，聚焦大量當(dāng)代具體藝術(shù)案例、熱點(diǎn)現(xiàn)象進(jìn)行分析論證，力求重點(diǎn)突出中華美學(xué)精神對(duì)當(dāng)代文藝事業(yè)的針對(duì)性與現(xiàn)實(shí)性，同時(shí)兼顧理論性與傳播性。
本書涉及當(dāng)代文學(xué)、美術(shù)、電影、設(shè)計(jì)、音樂等藝術(shù)門類，每章由對(duì)各藝術(shù)門類素有研究的學(xué)者撰寫，除主編王一川教授外，合著者有彭鋒教授，陳旭光教授，李道新教授，李洋教授，向勇教授，金永兵教授，唐金楠副教授和劉晨講師等。
王一川
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王一川，北京師范大學(xué)教授，博士生導(dǎo)師。教育部2005年度長(zhǎng)江學(xué)者獎(jiǎng)勵(lì)計(jì)劃特聘教授。中國(guó)文藝評(píng)論家協(xié)會(huì)副主席，中華美學(xué)學(xué)會(huì)副會(huì)長(zhǎng)，中國(guó)文藝?yán)碚搶W(xué)會(huì)副會(huì)長(zhǎng)。主要研究藝術(shù)理論、文藝?yán)碚�、美學(xué)、影視批評(píng)等。著有《意義的瞬間生成》、《語言烏托邦》、《修辭論美學(xué)》、《中國(guó)現(xiàn)代性體驗(yàn)的發(fā)生》、《中國(guó)現(xiàn)代學(xué)引論》、《文學(xué)理論》、《第二重文本》、《藝術(shù)公賞力》等。
第一章 中華美學(xué)精神的含義與淵源 ························ 1
一、中國(guó)文化想象：他者與自我之間·························· 1
二、中華美學(xué)精神與國(guó)家文化戰(zhàn)略····························· 9
三、從中國(guó)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(guó)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(guó)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(guó)藝術(shù)精神的多元性和當(dāng)代性····· 28
二、中國(guó)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(guó)維對(duì)中國(guó)美學(xué)的發(fā)現(xiàn)·································· 66
三、 宗白華借助西方生命哲學(xué)對(duì)中國(guó)美學(xué)生命精神的
揭示···························································· 78
四、葉朗對(duì)中國(guó)美學(xué)意象本體論的建構(gòu)······················ 99
五、西方現(xiàn)代美學(xué)對(duì)中國(guó)美學(xué)的借用······················· 106
六、西方當(dāng)代美學(xué)與中國(guó)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(mèng)》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(dú)立而獲個(gè)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(jì)民的擔(dān)當(dāng)之美與現(xiàn)實(shí)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(shí)：虛實(shí)相生·········································· 203
五、氣與韻：氣韻生動(dòng)········································· 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(guó)當(dāng)代美術(shù)與傳統(tǒng)·················· 216
二、中國(guó)當(dāng)代美術(shù)對(duì)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(yuǎn)回響······································· 246
二、新詩(shī)雅韻的中國(guó)歌唱······································· 255
三、中國(guó)樂派的美學(xué)精神······································· 260
第九章 當(dāng)代創(chuàng)意設(shè)計(jì)中的中華美學(xué)精神 ················ 265
一、中國(guó)當(dāng)代設(shè)計(jì)的美學(xué)溯源································· 268
二、創(chuàng)意設(shè)計(jì)與商品價(jià)值······································· 276
三、中國(guó)當(dāng)代設(shè)計(jì)的創(chuàng)意之路································· 285
第十章 互聯(lián)網(wǎng)時(shí)代中華美學(xué)精神傳播的機(jī)遇與挑戰(zhàn) ··· 298
一、中華美學(xué)精神的主要載體是中國(guó)藝術(shù)·················· 299
二、互聯(lián)網(wǎng)時(shí)代傳播的基本特征······························ 300
三、技術(shù)演進(jìn)對(duì)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(shí)代傳播的機(jī)遇··············· 305
五、中華美學(xué)精神在互聯(lián)網(wǎng)時(shí)代傳播的挑戰(zhàn)··············· 306
六、中華美學(xué)精神在互聯(lián)網(wǎng)時(shí)代傳播的對(duì)策··············· 308
后 記 ····························································· 310
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