“喜剧美学”能否拯救社会文化危机?——向俞吾金教授请教  

Could "Comedy Aesthetics" Save the Social and Cultural Crisis?——And Deliberate with Mr. Yu Wujin

作　　者：乔东义[1] 

机构地区：[1]安徽师范大学文学院,安徽芜湖241000

出　　处：《学术月刊》2010年第6期100-108,共9页Academic Monthly

摘　　要：俞吾金教授在《喜剧美学宣言》一文中提出:当前中国美学界还基本停留在知识论研究的阶段,没能取得任何实质性的进展;悲剧(悲剧美学)体现了美学知识论研究的基本范式,应当扬弃和超越;喜剧(喜剧美学)则彰显了美学生存论研究的典型范式,符合当前审美文化发展潮流,应予以大力倡导和扶植。俞吾金教授倡导"喜剧美学"的创新意识和探索精神诚然可嘉,但其对当前中国美学发展现状的认知和判断多有不确之处,对悲剧与喜剧美学的具体论证也有偏颇之嫌。悲剧与喜剧一样具有生存论和本体论意义,悲剧与悲剧美学不可忽略;"喜剧美学"很大程度上仅是对当前审美文化现象的一种现象主义概括和描述,并不能有效应对当前社会文化危机,其学理意义和实践意义均有待于进一步审视和检验。In the article of ＂Declaration about Comedy Aesthetics＂, Mr. Yu Wujin mainly proposed：The aesthetic circle of current China still remained in the phase of traditional knowledge theory studying, did not make any substantial progress; Tragedy （tragedy aesthetics） reflected the basic paradigm of aesthetic knowledge theory studying, should be discarded and beyond;Comedy （comedy aesthetics） embodied the typical model of aesthetics ontology research, accord with the development trend of aesthetic culture, should he strongly advocated and supported. In my view, there are many inaccuracies about the cognition and judgment to the development situation of current Chinese esthetics in this article, and its concrete discussions on the tragedy esthetics or comedy esthetics are also very biased;The tragedy has a existential and ontological significance the same as comedy, the tragedy and tragic aesthetics can＇t be neglected; the ＂Comedy Aesthetics＂ is just only a kind of doctrine summary and description of current aesthetic culture phenomenon to a great extent, and can not effectively handle current social and cultural crisis, its academic and practical significance are to be further examined and tested.

关 键 词：生存论 喜剧 悲剧 审美文化 

分 类 号：B83-069[哲学宗教—美学]