Aesthetic thought of Zhu Guangqian (1897-1986)

Abstract

In modern Chinese aesthetics and literary criticism, Zhu Guangqian (1897-1986) is one of the most well-known theorists and a writer renowned both amongst Chinese intellectuals and the many young readers who enjoy accessible versions of his theories. In the 1980s, Zhu's status as an influential figure was heightened once more through the debates over socialist alienation in Marxist humanism and 'Culture Fever.'

His emphasis on the aesthetic dimension of art was at odds with prevailing contemporary views on political utility in art. In consequence, the literary theory and aesthetics of his early stage were, until the 1980s, criticised in mainland China for their idealist tendencies. Although there have been some studies on Zhu's contributions to modern Chinese aesthetic theory and literary criticism, there has been little comprehensive research on the formation and development of his thought.

This thesis is, therefore, concerned to provide a detailed reconstruction and analysis of these relatively neglected aspects of Zhu's thought throughout his life. I seek to show that Zhu offers a unique attitude towards the intellectual turmoil of China since the 1920s and a highly original account of the reciprocity of traditional Chinese ethical ideals and Western thinking derived from his education in both China and Europe and developed throughout his further studies of Western thinkers. While examining Zhu's interpretation of aesthetic experience and Western theories of aesthetics and psychology, I argue that despite the apparent influence of Western ideas on the formation of his theories, his unique attitude is steeped in traditional Chinese thought. Unlike previous studies, this thesis also argues that there is consistency in his thinking between in the first half and the second half of the 20th century.