论文部分内容阅读
近读朱立元先生的《美学与实践》一书,引 发了我对争议多年的实践论美学的进一 步思考。坦白地说,针对陈炎和杨春时二位先生对实践论美学的发难、及其以“突破说”和“超越说”所标示的“后实践美学”的问题,朱先生从辩证的角度进行的反驳和论证,是很具理论说服力的,由此也可以看出“后实践美学”对“实践美学”的超越,还有诸多可待商榷之处。但陈、杨二位先生及“后实践美学”倡导者为什么难以真正超越实践论美学?朱先生对实践论美学的辩护,是否能说服对实践论美学进行超越努力的年青学者们?实践论美学在21世纪,又如何真正体现出有中国特色的现代性深化或拓展?这些显然不是一个赞同谁不赞同谁的问题,也不是实践论美学有道理还是后实践美学有道理的问题。本文拟从否定主义美学的角度,和朱先生一道,思考中国当代美学建设超越实践论美学的三个关键问题,以图建立中国当代美学新的思维方式。
A close reading of Mr. Zhu Liyuan’s book Aesthetics and Practice triggered my further thinking on the controversial practice aesthetics for many years. Frankly speaking, in view of the cruelties about the aesthetics of practical aesthetics and the “post-practice aesthetics” marked by “breakthrough” and “transcendence”, the two gentlemen of Chen Yan and Yang Chunshi dialectically Refute and argue, is very theoretical and convincing, which can also be seen “post-practice aesthetics” to “practical aesthetics” beyond, there are many to be open to questioning. However, why did Chen, Yang Er-bit and advocates of “post-practice aesthetics” really surpass the theory of practical aesthetics? Can Mr. Zhu’s defense of practical aesthetics persuade young scholars who make transcendence of practical aesthetics? Practical Aesthetics In the 21st century, how can we truly demonstrate the deepening or expansion of modernity with Chinese characteristics? These are obviously not issues in favor of who does not agree with who, nor is it a question of practical aesthetics or post-practice aesthetics. This article intends to discuss with Zhu from the point of view of negative aesthetics aesthetics the three key issues in constructing contemporary Chinese aesthetics beyond practical aesthetics in order to establish a new way of thinking in contemporary Chinese aesthetics.