本文關(guān)鍵詞： 主義 美學(xué)癥候 話語(yǔ)分析 精神建構(gòu) 百年中國(guó)美學(xué)批判　出處：《探索與爭(zhēng)鳴》2012年04期 　論文類型：期刊論文

【摘要】：美學(xué)從其建立之初,就一直立足于闡釋和張揚(yáng)人的自由維度。遺憾的是近20年當(dāng)代中國(guó)美學(xué)話語(yǔ)卻存在著空疏的不及物傾向。它不但日益遠(yuǎn)離了美學(xué)的本真,而且與人的真實(shí)存在和精神狀態(tài)相背離;它無(wú)視乃至在某種程度上遮蔽了當(dāng)代國(guó)人精神的真實(shí)狀態(tài)和生存現(xiàn)狀,而且又以擺脫啟蒙美學(xué)(實(shí)踐美學(xué))為能事,其結(jié)果就是"主義的喧囂與缺失"。但是,所謂"主義的缺失"還只是一個(gè)表層問題。問題的實(shí)質(zhì)在于美學(xué)家們構(gòu)建美學(xué)時(shí)的彷徨、畏葸、甚至不著邊際,在瞻前顧后中他們既喪失了美學(xué)所具有的應(yīng)然狀態(tài)在于探究審美和藝術(shù)的非功利性,同時(shí)也喪失了美學(xué)所探究的形式的無(wú)功利性與其效用的功利性之間的張力。這雙重的喪失必然導(dǎo)致當(dāng)代中國(guó)美學(xué)向著兩個(gè)方向發(fā)展:其一是庸俗的審美泛化、犬儒化;其二是審美或藝術(shù)形式的純技巧化。而美學(xué)應(yīng)該著重于對(duì)感性之維的現(xiàn)實(shí)觀照與把握,而非脫離現(xiàn)實(shí)和審美—藝術(shù)等感性領(lǐng)域進(jìn)行所謂"主義"的閉門造車。
[Abstract]:From the beginning of its establishment, aesthetics has always been based on the dimension of interpretation and publicity of human freedom. Unfortunately, in the past 20 years, the discourse of contemporary Chinese aesthetics has an intransitive tendency, which is not only away from the true nature of aesthetics, but also increasingly far away from the essence of aesthetics. Moreover, it deviates from the real existence and spiritual state of human beings; it ignores and, to some extent, obscures the true state and survival status of the spirit of contemporary Chinese people, and takes it as its ability to get rid of the enlightenment aesthetics (practical aesthetics). The result is "the noise and absence of doctrine". However, the so-called "absence of doctrine" is only a superficial problem. The essence of the problem lies in the hesitancy, flinchedness, and even insignificance of aestheticians in the construction of aesthetics. In the midst of too many concerns, they have lost the natural state of aesthetics that lies in exploring the non-utilitarian nature of aesthetics and art, At the same time, it also loses the tension between the non-utilitarianism and utility of the form explored by aesthetics, which inevitably leads to the development of contemporary Chinese aesthetics in two directions: first, vulgar aesthetic generalization and cynicism; The second is the pure artistry of aesthetic or artistic form, and aesthetics should focus on the realistic reflection and grasp of perceptual dimension, not on the so-called "doctrine" from the perceptual fields such as reality and aesthetic-art.
【作者單位】： 浙江師范大學(xué)人文學(xué)院;
【基金】：作者主持的教育部人文社會(huì)科學(xué)研究規(guī)劃項(xiàng)目(09YJA751080)的階段性成果
【分類號(hào)】：B83

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