本文選題：現(xiàn)代審美倫理 + 自律性藝術(shù)��； 參考：《湖北大學(xué)學(xué)報(bào)(哲學(xué)社會科學(xué)版)》2017年03期

【摘要】：現(xiàn)代藝術(shù)——美的藝術(shù),被唯美主義天才詩人們從中介性角色推向終極地位,即由康德思想中經(jīng)美的形式通向自由人格(理性人)這種橋梁作用——創(chuàng)化為唯美主義者自身職業(yè)乃至全部生存的唯一訴求。這種變化生成于作為對象的美的形式及與之相關(guān)的獨(dú)立傾向上,來源于唯美主義者的理論主張和身體文本塑造中�，F(xiàn)代藝術(shù)從此成為生活的藍(lán)本,成為這一時期巴黎、倫敦部分藝術(shù)弄潮兒挑戰(zhàn)現(xiàn)代理性與世俗道德倫理——非康德本意——的行動指南,成為他們于流俗中繼續(xù)保持感性存在狀態(tài)時的鮮艷標(biāo)簽?zāi)酥磷晕覡I銷寶典。這種藝術(shù)至上的訴求在同期乃至后來其他具有波西米亞氣質(zhì)的絕世靈魂中不時產(chǎn)生回響。
[Abstract]:Modern art-the art of beauty, has been pushed from the intermediary role to the ultimate status by the aesthetically gifted poets. That is, from the aesthetic form of Kant's thought to the bridge of free personality (rational person)-the only demand for the aestheticists to survive is their own occupation and even the whole existence. This kind of change comes from the form of beauty as the object and the independent tendency related to it. It comes from aestheticism's theory and body text. From then on, modern art became the blueprint of life, and became the guide to the actions of some of the art craftsmen in London during this period to challenge the modern rational and secular moral ethics, which was not Kant's intention. As they continue to maintain the state of sensual existence in the flow of bright labels and even self-marketing treasure book. This appeal of artistic supremacy echoes from time to time in other bohemian spirits.
【作者單位】： 黃岡師范學(xué)院文學(xué)院;
【基金】：湖北省社會科學(xué)基金資助項(xiàng)目:2016035
【分類號】：I0

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1 閻國忠;藝術(shù)與美——一個馬克思主義者與一個新唯美主義者的對話[J];吉首大學(xué)學(xué)報(bào)(社會科學(xué)版);2004年04期

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