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现代美学的诞生是一个在艺术、哲学、政治三者之间混杂的存在。但长期以来,美学的主要危机在于,它几乎一直被作为自律性的艺术理论而备受指责,而其与西方现代性筹划之间的混杂关系也多被视作政治浪漫派的乌托邦梦想。因此,现有的审美政治思考一般以“美学”作为反向的起点,其中,以韦尔施为代表的认识论美学、以法兰克福学派为核心的否定美学、以审美意识形态批判为基础的后现代文化研究和马克思主义美学,构成了“反美学”的主要路径,同时也形成了审美政治的几种基本关系模式。近年来的回归美学的思潮,再次将美学推至浪漫主义和哲学美学的原生性场景,一种以平等为核心的审美共同体视域将成为审美政治的新的理论生长点。
The birth of modern aesthetics is a mixed existence between art, philosophy and politics. For a long time, however, the major crisis in aesthetics was that it was almost always blamed as an art theory of self-discipline, and its hybrid relationship with Western modernity planning was often regarded as a utopian dream of political romanticism. Therefore, the existing aesthetic and political thinking generally takes “aesthetics ” as the starting point of the reverse. Among them, epistemological aesthetics represented by Weashe, negative aesthetics with Frankfurt School as the core, and criticism based on aesthetic ideology Postmodern cultural studies and Marxist aesthetics constitute the main path of “anti-aesthetics,” and at the same time, form several basic modes of relations in aesthetic politics. In recent years, the thought of returning to aesthetics has once again pushed aesthetics to the original scene of romanticism and philosophical aesthetics. A vision of the aesthetic community centered on equality will become the new theoretical growth point of aesthetic politics.