美学重建与“感性学”“审美学”反思  

Reconstruction of Aesthetics and Reflection on the Aesthetica

作　　者：赵奎英 ZHAO Kui-ying(School of Arts, Nanjing University, Nanjing 210039, Jiangsu)

机构地区：[1]南京大学艺术学院,江苏南京210093

出　　处：《厦门大学学报（哲学社会科学版）》2018年第2期1-8,共8页Journal of Xiamen University(A Bimonthly for Studies in Arts & Social Sciences)

基　　金：教育部人文社科重点研究基地重大项目"美学基本理论的分析与重建"(13JJD750011);国家社科基金项目"生态语言学与生态文学;文化理论研究"(1213ZW007)

摘　　要：在当今的美学重建中出现了一种超越康德的"审美学"回到鲍姆嘉滕的"感性学"的倾向。但对于一种更具有整合性、普遍性的新时代中国美学基本理论的重建来说,无论是康德意义上的"审美学",还是鲍姆嘉滕意义上的"感性学"都是需要反思的。鲍姆嘉滕"感性学"的主体性原则导致对自然审美的忽视;"感性学"的感性认识能力对身体及"非完善感性认识"的排除,又使其无法很好地解释身体审美和当代艺术审美活动;"感性学"作为主要依据诗歌艺术建立起来的"自由艺术审美模式"也限制了它对自然审美活动的解释力。对感性学、审美学反思的目的,不是要完全离开"感性学",而是为了促进一种新时代的更具整合性、能更好地解释当下所有审美活动和审美现象的"新审美学"的重塑。In the reconstruction of aesthetics today,there is a tendency to surpass Kant ＇s Aesthetics and return toBaumgarten＇s ＂ Aesthetica＂. But for a more integrated and universal reconstruction of the basic theory of aesthetics,both Kant＇s Aesthetics and Baumgarten＇s Aesthetica call for reflections. The subjective principle of Baumgarten＇s Aesthetica causes the neglect of appreciation of nature and exclusion of the body and the imperfect perceptual knowledge,making it difficult to explain Somaesthetics and contemporary art practices. The aesthetic model of liberty art based on poetry restricts its explanatory power for nature appreciation,too. The aim of reflection is not keep a distance from Baumgarten＇s Aesthetica,but to remold a ＂ new aesthetics＂ to promote the existence of all life and to explain all the aesthetic activities and aesthetic phenomenology.

关 键 词：美学重建 审美学 感性学 新审美学 

分 类 号：B83-0[哲学宗教—美学]