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面对中国当代主流美学的嘈杂话语和美学品性的失落,《澄明美学》站在非主流的立场上,寻找纯粹美的光辉并进行其本体论的证明。它从人类精神结构要素的辨析入手维护了美作为一种生命本质力量的独立地位,批判了以真为美、以善为美、以后现代身体自由为美的反审美倾向;并以对《巴黎手稿》两种生产尺度的全新阐释,揭示了审美建造方式作为人的自由尺度本质上是“曲己成物”的澄明万物、澄明自身的方式,由此也区分了诗性智慧与理性思维的本体论差异,昌明了中国美学真正的精神追求。
In the face of the noisy discourse of contemporary Chinese mainstream aesthetics and the loss of aesthetics, “Clear Aesthetics” stands on the non-mainstream standpoint, looking for pure beauty and proof of its ontology. Starting with the analysis of the elements of human spiritual structure, it maintains the independent status of the United States as an essential force of life, criticizes the anti-aesthetic tendency of taking true beauty as beauty and goodness as beauty, and then modern body freedom as beauty; "The new interpretation of the two production scales reveals that the aesthetic standard of construction, as a free measure of human beings, is essentially a clear thing in everything else and a way of clarifying itself, thus distinguishing between poetic wisdom and rational thinking Ontological differences, Chang Ming Chinese aesthetics of the true spiritual pursuit.