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分析美学是20世纪后半叶在英美及欧洲诸国占据主流位置的重要美学流派。分析美学依托于现代西方分析哲学的学理背景,以及在20世纪50—70年代中国国内时代氛围等多种因素,决定了分析美学在中国的边缘地位。分析美学具有反本质主义倾向,把问题论域集中于艺术领域,在研究方法上注重语言分析。中国当代美学主流话语则带有强烈的本质主义倾向,以物质生产劳动实践和社会生活实践为理论重心,强调自然美和社会美的重要性,并将其置于艺术美之前。这两种不同的理论走向,使得分析美学至今难以有效地参与中国当代美学的理论建构。讨论分析美学与中国美学之间的复杂关联,推动分析美学在中国美学话语中发挥积极作用,是我们不容回避的重大的理论课题。
Analysis of aesthetics is the second half of the 20th century in the United States and Europe occupy the mainstream position of the major aesthetic schools. Analytical aesthetics relies on the theoretical background of modern Western analytic philosophy and various factors such as the atmosphere of China’s domestic era during the 1950s and 1970s, which determine the marginal status of analytical aesthetics in China. Analytical aesthetics has the tendency of anti-essentialism, concentrates the problem domain in the field of art, and pays attention to linguistic analysis in the research methods. The mainstream discourse of Chinese contemporary aesthetics is strongly oriented toward essentialism. It takes the practice of material production and the practice of social life as its theoretical center of gravity, emphasizes the importance of natural beauty and social beauty, and puts it before the artistic beauty. These two different theoretical trends make analytical aesthetics so difficult to effectively participate in the theoretical construction of contemporary Chinese aesthetics. It is a major theoretical issue that we can not shy away from discussing the complicated relationship between aesthetics and Chinese aesthetics and promoting analytic aesthetics to play an active role in Chinese aesthetics discourse.