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本文旨在对“批判美学”这个概念进行新的阐述。文章追溯了半个世纪以来对“批判美学”的界定,认为这些界定存在着对艺术抽离的缺陷。结构主义的兴起使得这种作为概念美学的美学延伸到艺术领域,要求与艺术重新建立关系。而碎片式的美学成了当今作为艺术哲学的美学理论的主要形式。在此背景下,始于一战期间的经典的欧洲先锋派重新引发人们的兴趣,并体现出批判美学的未来任务。
This article aims to make a new exposition of the concept of critical aesthetics. The article traced the definition of “Critical Aesthetics” for half a century and concluded that there exists a defect in the definition of the art. The rise of structuralism extends this aesthetics of conceptual aesthetics to the field of art and calls for a renewed relationship with the arts. The fragmented aesthetics has become the main form of aesthetic theory today as the philosophy of art. In this context, the classic European avant-garde that began in World War I rekindled interest and reflected the future of critical aesthetics.