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美学从其建立之初,就一直立足于阐释和张扬人的自由维度。遗憾的是近20年当代中国美学话语却存在着空疏的不及物倾向。它不但日益远离了美学的本真,而且与人的真实存在和精神状态相背离;它无视乃至在某种程度上遮蔽了当代国人精神的真实状态和生存现状,而且又以摆脱启蒙美学(实践美学)为能事,其结果就是“主义的喧嚣与缺失”。但是,所谓“主义的缺失”还只是一个表层问题。问题的实质在于美学家们构建美学时的彷徨、畏葸、甚至不着边际,在瞻前顾后中他们既丧失了美学所具有的应然状态在于探究审美和艺术的非功利性,同时也丧失了美学所探究的形式的无功利性与其效用的功利性之间的张力。这双重的丧失必然导致当代中国美学向着两个方向发展:其一是庸俗的审美泛化、犬儒化;其二是审美或艺术形式的纯技巧化。而美学应该着重于对感性之维的现实观照与把握,而非脱离现实和审美—艺术等感性领域进行所谓“主义”的闭门造车。
Since its establishment, aesthetics has been based on the interpretation and publicity of human freedom. Unfortunately, the contemporary Chinese aesthetic discourses in the past 20 years have a tendency of being empty and translucent. It not only keeps away from the essence of aesthetics but also departs from the real and mental state of human beings. It ignores or even masks the true state and living conditions of contemporary Chinese people to a certain extent, Aesthetics) as a matter of fact, the result is “noisy and missing ”. However, the lack of so-called “ ”ism is only a superficial issue. The essence of the problem lies in the estheticianness, fearlessness, or even marginalization of estheticians in the construction of aesthetics. In the long run, they lose both the aesthetics and the non-utilitarian state of aesthetics and the aesthetics The tension between the non-utilitarian form and the utility’s utility. This double loss will inevitably lead to the development of contemporary Chinese aesthetics in two directions: one is vulgar aesthetic generalization and cynicalism; the other is the purely technicalization of aesthetic or artistic forms. And aesthetics should focus on the reality of the emotional dimension of the reality and grasp, rather than from reality and aesthetic - art and other emotional areas so-called “doctrine ” behind closed doors.