论文部分内容阅读
《1844年经济学哲学手稿》(以下简称《手稿》)在中国当代美学的建构中具有举足轻重的地位。《手稿》以实践论的哲学视角为核心,从认识论美学、实践论美学、后实践论美学三种美学形态对中国当代美学进行了清晰的划分。众所周知,这三种美学形态都与《手稿》的关系异常密切,它们分别从自身的基本视点的角度解读了《手稿》中的美学思想,以不同的哲学立场对《手稿》进行阐释。因此,分析和反思《手稿》在中国当代美学范式转换中的作用显得十分必要。
“Economic and Philosophical Manuscripts of 1844” (hereinafter referred to as “Manuscripts”) plays a decisive role in the construction of contemporary Chinese aesthetics. From the philosophical point of view of practice, Manuscripts makes a clear division of Chinese contemporary aesthetics from the three aesthetic forms of epistemological aesthetics, practical aesthetics and post-practical aesthetics. As we all know, these three kinds of aesthetic forms are all very close to the “manuscripts”. They respectively interpret the aesthetic ideas in Manuscripts from the perspective of their own basic point of view and interpret Manuscripts from different philosophical standpoints. Therefore, it is necessary to analyze and reflect on the role of “manuscripts” in the paradigm shift of contemporary Chinese aesthetics.