当代“审美泛化”的全息结构——从“审美日常生活化”到“日常生活审美化”  

On the Framework of Contemporary "Aestheticization"—— From"aesthetic turning into everyday life" to "the aestheticization of everyday life"

作　　者：刘悦笛[1] 许中云 

机构地区：[1]中国社会科学院哲学所,北京100732 [2]深圳关山月美术馆,广东深圳518036

出　　处：《西北师大学报（社会科学版）》2006年第4期25-29,共5页Journal of Northwest Normal University(Social Sciences)

基　　金：2006年度国家哲学社会科学青年基金项目"当代艺术终结的哲学反思"阶段性成果

摘　　要：当代“审美泛化”已成为了“后现代”的美学特质,然而,无论在中国还是西方,这种历史趋势都被直接等同于“日常生活审美化”。实际上,“审美泛化”包涵着双重的逆向运动的过程:一方面是“日常生活审美化”,另一方面则是“审美日常生活化”。前者是就“后现代文化”的基本转向而言的,它直接将“审美的态度”引进现实生活,主要包括“表层审美化”与“深度审美化”两类;后者则主要是就“后现代艺术”的大致取向来说的,它力图去消抹艺术与日常生活的界限,但这种趋势在前现代与现代主义艺术那里就已存在。由此观之,当代“审美泛化”的全息图景,便在历史整体性上被呈现了出来。Contemporary Aestheticization constitutes a basic postmodern character, but the historical trend is merely equal to the aestheticization of everyday life. In nature, Aestheticization consists of double rightabout directions： one is the aestheticization of everyday life, another is aesthetic turning into everyday life. The former is a transformation of postmodern culture which directly brings aesthetic attitude into everyday life, and it involves in-depth and skin-deep Aestheticization. The latter is mostly a tend of postmodern art, nevertheless the tend emerged in pre-modern and modernism art. So the framework of contemporary Aestheticization shows itself as a whole.

关 键 词：审美泛化 后现代 日常生活审美化 审美日常生活化 

分 类 号：B834.4[哲学宗教—美学]