本文選題：美學(xué)　切入點：鮑姆嘉通　出處：《江蘇社會科學(xué)》2010年06期 　論文類型：期刊論文

【摘要】：現(xiàn)代美學(xué)不只是關(guān)于美和藝術(shù)的知識領(lǐng)域,同時也是現(xiàn)代精神自我確證的一個重要方面,其旨趣系于個人主體的正當(dāng)性這個現(xiàn)代哲學(xué)的基本問題。鮑姆嘉通最初在理性主義體系里構(gòu)想出一門準(zhǔn)認識論性質(zhì)的"感性學(xué)";而后,康德在批判哲學(xué)范圍內(nèi)為之確立主體的根基,并賦予"審美自律論"以完整的哲學(xué)形式;席勒從康德的概念框架出發(fā),將審美批判擴展至社會政治領(lǐng)域,提出一種"審美烏托邦"思想�，F(xiàn)代美學(xué)早期的這段歷史,顯示了審美—藝術(shù)問題是如何被推向現(xiàn)代思想前沿的。
[Abstract]:Modern aesthetics is not only a field of knowledge about beauty and art, but also an important aspect of modern spiritual self-confirmation. Its purport lies in the basic question of the legitimacy of individual subject, which is the basic problem of modern philosophy. At first, Baumgarton conceived a quasi-epistemological "perceptual science" in the rationalism system. Kant established the foundation of the subject in the scope of critical philosophy, and endowed "Aesthetic Self-discipline Theory" with a complete philosophical form. Schiller expanded the aesthetic criticism to the field of social politics from Kant's conceptual framework. This article puts forward a kind of "aesthetic utopia". The early history of modern aesthetics shows how the aesthetic-artistic problem is pushed to the forefront of modern thought.
【作者單位】： 中國藝術(shù)研究院《文藝研究》雜志社;
【分類號】：B83
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本文編號：1558163