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中国当代美学在八十年代取得突出进展和空前繁荣的同时,逐渐显露出一个到目前还未被自觉地意识到的重大缺陷,这就是理论思维的历史意识和现实感的淡漠。实际上,所谓当代美学不过是以王国维为起点的近百年中国现代美学历史发展的一个环节,它的现状和未来,都与这个整体流程有十分密切的关系。这仍然是一段古代美学与现代美学复杂交织的历史过程,中国现代美学最基本的理论任务,是确立它不同于古代美学的地位和方向,是把现代中国人不同于古代的审美需求和艺术实践,转化为美学的思考和表达。在近百年曲折迂缓的进程中,中国现代美学已经触及了关系着它全局发展和未来命运的基本问题,初步形成了支撑着其全部理论形态的最一般的范畴网络。对于中国当代美学界,这些范畴并不陌生,但问题恰恰出在这里,在这些最常见最一般的范畴中实际上包含着许多需要继续论证、深化,甚至需要澄清、纠正的问题,它们从根本上制约着中国当代美学的理论建构和发展。
While China’s contemporary aesthetics made outstanding progress and unprecedented prosperity in the 1980s, it gradually revealed a major flaw that has not yet been consciously realized so far. This is the indifference of historical thinking and realistic feeling of theoretical thinking. In fact, the so-called contemporary aesthetics is only a link in the historical development of modern Chinese aesthetics for nearly a century with Wang Guowei as its starting point. Both its current status and its future are closely related to this overall process. This is still a historical process of complex interweaving of ancient aesthetics and modern aesthetics. The most basic theoretical task of modern Chinese aesthetics is to establish its position and direction different from that of ancient aesthetics. It is to differentiate the modern Chinese from the ancient aesthetic needs and artistic practices , Into thinking and expression of aesthetics. In the twists and turns of nearly a hundred years, China’s modern aesthetics has touched upon the basic issues that have a bearing on its overall development and its future destiny, and initially formed the most general category network that supported all its theoretical forms. These categories are not unfamiliar to contemporary Chinese aesthetic circles, but the problems lie precisely here. In these most common and general categories, there are actually many problems that need to be further demonstrated, deepened and even need to be clarified and corrected. Restricts the theoretical construction and development of contemporary Chinese aesthetics.