从思维方式看现象学美学对中国当代美学的影响  

Phenomenological aesthetics and modern Chinese aesthetics

作　　者：董惠芳[1] 

机构地区：[1]渤海大学文学院,辽宁锦州121013

出　　处：《河北师范大学学报（哲学社会科学版）》2014年第4期65-71,共7页Journal of Hebei Normal University(Philosophy and Social Sciences)

基　　金：教育部人文社科青年项目(项目编号:13YJC720009);辽宁省社科青年项目(项目编号:L12CZW006)

摘　　要：不少中国当代的美学家认识到,研究美的问题不应该依照主客二分的模式,而应该采取超主客对立的思维。这与他们对于现象学美学思维方式的接受密切相关。在中国美学界,对于主客关系,学者们发出的声音并不一致。这表明现象学美学的思维方式真正促进了学者们的思考,中国美学的当代探索也包括了思维方式上的探索。While Chinese aesthetics is substantially influenced by the phenomenological aesthetics, the estheticians start to realize that the studies should not fall into the category of subject-object dichotomy. This is closely related to their thinking of the phenomenological aesthetics. Ye Lang, Zhu Liyuan and Zeng Fanren express their common understandings as they introduce the way of phenomenal aesthetics. Chinese cultural context is their starting point. Moreover, they all have an inclination to the ontological phenomenon by Heidegger. This shows that the thinking mode of phenomenological aesthetics has really inspired Chinese estheticians, and exploration of Chinese aesthetics has also included exploration on the mode of thinking.

关 键 词：思维方式 现象学美学 中国当代美学 

分 类 号：B83-06[哲学宗教—美学]