摘要
在中国当代美学史上,"美学大讨论"是一次"百花齐放、百家争鸣"式的集体大合唱。以"《新建设》座谈会"为界,"美学大讨论"可以划分为前后两个时期、两种倾向:前期主要倾向于在反映认识论的框架中,以主观与客观、唯物主义与唯心主义、反动与进步的二元对立思维,对朱光潜美学思想进行哲学批判;后期主要倾向于将美学和艺术实践、现实生活相结合,力求避免前期讨论中存在的概念化、抽象化、缺乏现实性等不足,由此产生了姚文元的"生活美学"和艺术家的"艺术美学"。关注从哲学美学走向生活美学与艺术美学的这次转变,重申"美学四派"之外的这些美学观点,有利于我们更加全面深刻地认识"美学大讨论"的丰富性、复杂性和深远性。
In the history of Chinese contemporary aesthetics, ＂Great Discussion of Aesthetics＂ is a chorus where a hundred flowers blossom, a hundred schools of thought contend. By New Construction symposium, ＂Great Discussion of Aesthetics＂ is bounded on two stages and two tendencies： the earlier stage inclines to express a epistemologieal frame, and in this frame, a philosophical critique of Zhu Guangqian＇s aesthetic ideology is given by several binary opposition thoughts including subjective and objective, materialism and idealism, reaction and progress, etc; the later stage devotes to combining aesthetics with artistic practice and real life, then strives to avoid deficiencies such as conceptualization, abstraction, lack of reality and so on in previous discussion, which results in Yao Wenyuan＇s ＂life aesthetics＂ and artists＇ ＂artistic aesthetics＂. Paying attention to this change from philosophical aesthetics heading for life aesthetics and artistic aesthetics, reviewing these aesthetical viewpoints except ＂4 schools of aesthetics＂, it can help us to further understand the abundance, complexity and profundity of the Grand Aesthetic Discussion.
作者
江飞
JIANG Fei(School of Literature ,Anqing Normal University, Anqing 246011, China)
出处
《云梦学刊》
2017年第3期5-11,共7页
Journal of Yunmeng
基金
国家社会科学基金重大项目"20世纪中国美学史"(12&2D111)
关键词
美学大讨论
哲学批判
生活美学
艺术美学
Great Discussion of Aesthetics, philosophical criticism, life aesthetics, artistic aesthetics
