摘要
以马克思主义实践论思想为基础的中国实践论美学学派,在近半个世纪的发展历程中,先后经历了认识论反映论和二元对立的思维模式。在广泛吸纳现代西方美学资源和印证中国传统文化资源的基础上,将物质生产和精神生产贯通起来,突出审美关系中主体的能动创造作用,进而又引入存在论与实践论思想结合,作为哲学基础,对实践论美学加以创造性的发展。新实践美学则突出强调其超越性的特征,使得实践论美学在不断丰富、发展和进步中成为一个开放的体系。而超越实践论美学(或称后实践美学)对实践论美学的批评则颇多误解和逻辑上的混乱。
The School of Chinese Practical Aesthetics,on the basis of Marxism's Theory of Practice,has undergone the mode of epistemology,the theory of reflection and dualism in about 50 years . Having absorbed modern western aesthetic sources and verified traditional Chinese culture,it has connected the production of material and spirit in its study,highlighted the active creativity of the perceiver in aesthetics relation,and then existentialism was introduced combined with the theory of practice. Neo-Practical Aesthetics lays stress on its transcendence,which makes it an open texture . Yet there exists a number of misunderstandings and logical disorders for Transcendence Practical Aesthetics (or Post-Practical Aesthetics) in the criticism of Practical Aesthetics.
出处
《安徽师范大学学报（社会科学版）》
2005年第3期298-305,共8页
Journal of Anhui Normal University(Hum.&Soc.Sci.)
关键词
实践论美学
精神生产
创造
存在论
超越
Practical Aesthetics
spiritual production
creation
existentialism
transcendence
