【摘要】：正中國(guó)當(dāng)代美學(xué)經(jīng)歷了數(shù)度理論形態(tài)的轉(zhuǎn)換,從偏于類主體的實(shí)踐論美學(xué),到偏于個(gè)體主體的生命美學(xué),以及偏于世界的環(huán)境美學(xué)、景觀美學(xué)等,無(wú)不合和著時(shí)代的步伐與文明的節(jié)奏。成熟的理論形態(tài)的出現(xiàn),標(biāo)志著一個(gè)學(xué)科獨(dú)立發(fā)展的可能性;有代表性的學(xué)者,則是一個(gè)學(xué)科發(fā)展的關(guān)鍵尺度與重要標(biāo)識(shí)。袁鼎生教授在當(dāng)代生態(tài)美學(xué)界,正是這樣一位有代表性的學(xué)者,其超循環(huán)的美學(xué)研究路徑,潛含著中國(guó)整體美學(xué)及生態(tài)美學(xué)學(xué)科的生命規(guī)程。
[Abstract]:Contemporary Chinese aesthetics has experienced several theoretical changes, from practical aesthetics to life aesthetics, environmental aesthetics, landscape aesthetics, etc., which are biased to the subject of practice, to the life aesthetics of the individual subject, and to the environmental aesthetics and landscape aesthetics of the world. With the pace of the times and the pace of civilization. The appearance of mature theoretical form marks the possibility of an independent development of a discipline, and a representative scholar is a key criterion and an important symbol of the development of a discipline. Professor Yuan Dingsheng is such a representative scholar in the field of contemporary ecological aesthetics whose super-circular aesthetic research path contains the life rules of Chinese whole aesthetics and ecological aesthetics.
【作者單位】： 廣西民族大學(xué)文學(xué)院;
【分類號(hào)】：B83-0

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