实践美学、后实践美学、新实践美学学派争鸣

发布时间：2018-01-27 03:00

本文关键词： 新实践美学后实践美学中国美学美学现代性中国古典美学审美现代性主体间性西方美学主体性美学传统　出处：《河北大学学报(哲学社会科学版)》2009年01期 　论文类型：期刊论文

【摘要】：中国美学现代性问题是美学界的一个老话题,但也是一个新问题。如果把中国美学现代性定位为西方美学"东渐"以来与中国本土美学发生碰撞、交流,由此产生了不同于中国古典美学的新的话语形态和理论范畴,造成了中国美学原本发展方向的新变,从而呈现出一些具有西方美学现代性的因子,那么,从王国维、梁启超、蔡元培、鲁迅、朱光潜、宗白华一直到今天的实践美学、后实践美学、新实践美学等百年来的中国美学研究,都可算作这一题域。如果把中国美学现代性定位为中国美学学人为适应美学现代发展的需要而自觉进行的旨在抵制西方美学话语霸权、建设有中国古典美学根柢、中国美学话语特色且可与西方美学进行对话的相关美学研究,则主要始于上个世纪末期,距今只有约10年时间。百余年的中国美学现代性研究给我们留下了很多,成为我们今日进行中国美学现代性建设弥足珍贵的一笔遗产;近10年来的中国美学现代性研究,则形态纷呈,思想各异,成为我们今日思考美学现代性问题的首要出发点。这里刊出的三篇文章,就是从后一种视角,对中国美学现代性研究做深层挖掘,其中刘桂荣是从中国古典美学的研究现状出发,分析这种研究存在的问题和应该采取的路子;曹晖是从美育的角度,对中国美育现代性建设的归纳扫描,总结经验,分析不足;谷鹏飞是从实践美学、后实践美学、新实践美学论争的角度,分析三派美学对中国美学现代性建设的贡献与不足。希望能有更多的专家和学者参与到这一问题的讨论中来,进一步推进中国美学的现代性建设。
[Abstract]:The modernity of Chinese aesthetics is an old topic in the field of aesthetics, but it is also a new one. As a result, different from Chinese classical aesthetics, new discourse forms and theoretical categories have emerged, resulting in new changes in the original direction of development of Chinese aesthetics, thus showing some factors with western aesthetic modernity. Chinese aesthetics has been studied in the past hundred years from Wang Guowei, Liang Qichao, Cai Yuanpei, Cai Yuanpei, Cai Yuanpei to today's practical aesthetics, post-practical aesthetics, new practical aesthetics and so on. If the modernity of Chinese aesthetics is defined as the self-consciousness of the Chinese aestheticians to meet the needs of the modern development of aesthetics, the purpose is to resist the hegemony of western aesthetic discourse. The construction of Chinese classical aesthetics is based on the Chinese aesthetic discourse characteristics and can be dialogue with Western aesthetics related aesthetic studies mainly started in the late last century. It is only about 10 years ago. The study of Chinese aesthetic modernity for more than a hundred years has left us a lot, and it has become a precious legacy for us to carry out the construction of Chinese aesthetic modernity today. The study of Chinese aesthetic modernity in the past 10 years has become the most important starting point for us to think about the modernity of aesthetics. The three articles published here are from the latter angle of view. The research on the modernity of Chinese aesthetics is deeply explored, in which Liu Guirong analyzes the existing problems and the ways to be taken from the current situation of the study of Chinese classical aesthetics. From the angle of aesthetic education, Cao Hui sums up the experience and analyzes the deficiency of the modern construction of Chinese aesthetic education. Gu Pengfei is from the point of view of practical aesthetics, post-practical aesthetics and new practical aesthetics. This paper analyzes the contributions and shortcomings of the three schools of aesthetics to the construction of the modernity of Chinese aesthetics and hopes that more experts and scholars will participate in the discussion of this issue and further promote the construction of the modernity of Chinese aesthetics.
【作者单位】：西北大学文学院;
【分类号】：B83
【正文快照】： 一、讨论问题的基本视角“中国美学的现代性”是一个老问题,讨论之前,我们有必要先确定一下讨论问题的视角。首先,何谓“中国美学的现代性”?在讨论这个问题时,当区分两种现代性,一种是“审美现代性”,另一种是“美学现代性”。前者是指与启蒙现代性构成张力、制约关系的美学

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