摘要
超越性是现代美学(包括中国的后实践美学)的基本范畴,它的根据在于存在的超越性。审美是超越的生存方式,它超越现实,也超越主客对立,从而实现了主体间性。赵晓芳对审美超越理论的批评,是建立在对审美超越的诸多误解之上的,从而也误解了审美的性质。对审美超越范畴进行具体的论证,可以纠正对审美超越的误解。
Transcendence is a basic category of modern aesthetics including Chinese post-practical aesthetics. It is based on the transcendence of being. Aesthetics is an existence on the basis of transcendence. It transcends the reality and the antagonism between subject and object and fulfills the inter-subjectivity. Zhao Xiao-fang＇s critique on my theory of aesthetic transcendence is based on various misunderstandings about the aesthetic transcendence, so that she misunderstands the nature of aesthetics. In order to correct the misunderstandings about the aesthetic transcendence, this article makes a demonstration of the aesthetic transcendence.
出处
《复旦学报（社会科学版）》
CSSCI
北大核心
2010年第2期62-67,共6页
Fudan Journal（Social Sciences）
关键词
审美超越
主体间性
后实践美学
aesthetic transcendence
inter-subjectivity
post-practical aesthetics
