摘要
鲍姆嘉通在“aesthetics”一词中加入“美的思维的艺术”的含义有着特殊背景 ,他以“美”的名义拯救西方传统哲学所鄙视、压抑的感性。 2 0世纪以来 ,随着现代主义文学的兴起和哲学变革的深入 ,强调感性意义的文艺美学已成为西方美学的主流之一。西方现代美学与中国传统美学有惊人的相似之处 ,追寻一种非概念的、超理性的智慧和人生境界一直是中国古代美学的重要特征之一。在中国现当代 ,由于美学承担了特殊任务 ,其感性之维经历了沉浮。
Baumgarten's insertion of 'the art of aesthetic thinking' into 'aesthetics' was made against a peculiar background: he tried,in the name of 'beauty',to liberate the scorned and depressed perceptuality. Since the 20th century,with the rise of literary modernism and the deepening transformation of philosophy,the literary and art aesthetics that stresses perceptuality has become one of the mainstreams of western aesthetics. Modern Western aesthetics is surprisingly similar to traditional Chinese aesthetics with non-conceptual,supra-rational wisdom and state of life characterizing the latter. In modern and contemporary China,the perceptuality of aesthetics has experienced ups and downs due to its loaded tasks.
出处
《盐城师范学院学报（人文社会科学版）》
2004年第2期44-51,共8页
Journal of Yancheng Teachers University（Humanities & Social Sciences Edition)
关键词
中国
西方
文艺美学
感性学
传统哲学
aesthetics
study of beauty
rationality
perceptuality
