摘要
舒斯特曼提出的"实用主义‘性'美学"通过对审美经验传统边界的消解,批判了审美"距离说"与"不关心说",又设定一种"不关心(功利)"的"性",从而将直接的(非艺术升华的)"性经验"纳入审美经验,抹去两者之间的距离与边界,正如他的"身体美学"既顺应着后现代对学科界限的颠覆,又要使一种非学科化的东西作为一个"学科的提议"使之学科化,陷入了深深的悖论之中。
＂ Pragmatic Sexual＂ Aesthetics＂ presented by Shusterman, through abolishing the traditional boundaries of aesthetic experience, criticizes the ＂ distance idea＂ and ＂ indifference idea＂ of aesthetics and assumes a ＂ carefree sex＂ , thus integrating the direct ＂ sexual experience＂ into aesthetic experience and wiping off the distance and bound- ary between the two. As his ＂ body aesthetics＂ , it both follows the post - modern subversion of disciplinary bounda- ries, and tries to make something not disciplinary into a discipline as a ＂ disciplinary suggestion＂ ; it is a paradox.
出处
《艺术百家》
北大核心
2009年第6期115-120,共6页
Hundred Schools In Arts
基金
中国社会科学院老年科研基金(2009-2012年度)"美学与文艺学的‘后学科’重建问题"阶段性成果之一
