实践存在论美学的形成及其问题——当代美学范式迁移的个案考察之一

发布时间：2018-03-19 12:41

本文选题：实践存在论美学　切入点：存在论哲学　出处：《厦门大学学报(哲学社会科学版)》2010年03期 　论文类型：期刊论文

【摘要】：实践存在论美学于20世纪90年代从实践美学发展而来。实践美学以本体论为基础,挑战长期占正统地位的认识论美学,主张艺术审美的独特性,但却造成所谓的"本体论之误"。为应对批评,实践美学借鉴和吸收海德格尔存在论哲学,最终形成了实践存在论美学。实践存在论美学把生存意义的实践提升到本体意义的高度,又把本体扩展为"源域",但其实并未真正走出本质主义,还将属人的实践曲解为最高和最终的范畴。同时它还面临着将海德格尔的存在论哲学和马克思主义的历史唯物论联结在一起的难题,它对前者的引用和理解是后现代解构式的阐释,因而无法达到借助其夯实自己基础的目的。实践存在论美学的关键问题,在于它始终把某个特定观念当成"第一原理",再据以探讨美和艺术,而不顾及鲜活的艺术审美活动。
[Abstract]:In 1990s, practical ontology aesthetics developed from practical aesthetics. On the basis of ontology, practical aesthetics challenged epistemological aesthetics, which had long occupied an orthodox position, and advocated the uniqueness of artistic aesthetics. In response to criticism, practical aesthetics draws lessons from Heidegger's existential philosophy. The practical existentialism aesthetics promotes the practice of existential meaning to the level of Noumenon meaning, and extends the Noumenon to "Source region", but it does not really walk out of essentialism. It also misinterprets personal practice as the highest and final category. It also faces the problem of linking Heidegger's existential philosophy with Marxist historical materialism. Its citation and understanding of the former is a post-modern deconstruction, so it can not achieve the purpose of consolidating its foundation. The reason is that it always regards a particular concept as "first principle" and then discusses beauty and art without regard to the fresh aesthetic activities of art.
【作者单位】：华东师范大学中文系;
【分类号】：B83-06

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