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俞吾金教授在《喜剧美学宣言》一文中提出:当前中国美学界还基本停留在知识论研究的阶段,没能取得任何实质性的进展;悲剧(悲剧美学)体现了美学知识论研究的基本范式,应当扬弃和超越;喜剧(喜剧美学)则彰显了美学生存论研究的典型范式,符合当前审美文化发展潮流,应予以大力倡导和扶植。俞吾金教授倡导“喜剧美学”的创新意识和探索精神诚然可嘉,但其对当前中国美学发展现状的认知和判断多有不确之处,对悲剧与喜剧美学的具体论证也有偏颇之嫌。悲剧与喜剧一样具有生存论和本体论意义,悲剧与悲剧美学不可忽略;“喜剧美学”很大程度上仅是对当前审美文化现象的一种现象主义概括和描述,并不能有效应对当前社会文化危机,其学理意义和实践意义均有待于进一步审视和检验。
Professor Yu Wujin put forward in the article of “Aesthetics of Comic Aesthetics”: At present, the Chinese aesthetic community still stays in the stage of epistemology research without any substantive progress; tragedy (tragic aesthetics) embodies the basic paradigm of aesthetics epistemology research, It should be discarded and surpassed. The comedy (comedy aesthetics) shows the typical paradigm of the aesthetic study of survival, accords with the current development trend of aesthetic culture, and should be advocated and nurtured. It is admirable that Professor Yu Wujin advocated the innovative consciousness and exploring spirit of “comedy aesthetics”. However, there are many uncertainties about the cognition and judgment of current development of Chinese aesthetics, as well as the specific argument of tragedy and comedy aesthetics Too Tragedy has the same theory of existentialism and ontology as tragedy, and tragedy and tragedy aesthetics can not be neglected. “Aesthetics of comic” is only a kind of phenomenological generalization and description of current aesthetic culture, and it can not effectively deal with the current Social and cultural crisis, its theoretical significance and practical significance need to be further examined and tested.