曼纽什的美学怀疑论与生态美学  

Mainusch’s Aesthetic Skepticism & Ecological Aesthetics

作　　者：鲁枢元[1] Lu Shuyuan

机构地区：[1]黄河科技学院生态文化研究中心

出　　处：《上海文化》2019年第10期27-32,124,125,共8页Shanghai Culture

摘　　要：本文试图在西方怀疑论美学与中国当代生态美学之间进行比较研究。德国当代美学家赫伯特 曼纽什在其《怀疑论美学》一书中指出:人的认识能力是有局限的,“怀疑态度”体现了人性的自由与人类的谦卑,是规避种种灾难的前提;艺术与审美属于人类的天性与本能,艺术创造与欣赏都是人类生命内在资源的开发;艺术与科学是人类两种并行不悖的能力,情感与认知的平衡有助于社会的和谐与健康;审美是对话,艺术是参与,创造者与欣赏者互为主体;艺术家、艺术品、鉴赏者、批评家构成一个“旋转的球体”;中国传统文化中的老子、庄子哲学具备怀疑论美学精神,弥足珍贵。曼纽什的这些美学怀疑论思想可以为中国当代生态美学建设提供有益的参考价值。This paper attempts to make a comparative study between Western Aesthetics of Skepticism and Chinese contemporary ecological aesthetics.Herbert Mainusch,a contemporary German aesthetician,points out in his book Skeptical Aesthetics that"skepticism"embodies the freedom of human nature and human's humility,and is the premise to avoid disasters;that art and aesthetics belong to human nature and instinct,and art creation and appreciation are the development of human life's internal resources.Art and science are two kinds of abilities of human beings,and the balance of emotion and cognition is helpful to the harmony and health of society;aesthetics is dialogue,art is participation,creator and appreciator are the main body of each other;artists,works of art,appreciators and critics form a"rotating sphere";Laozi and Zhuangzi philosophy in traditional Chinese culture have the spirit of Skepticism Aesthetics.This paper believes that Mainusch's aesthetic skepticism thoughts is useful for the construction of Chinese contemporary ecological aesthetics.

关 键 词：赫伯特 曼纽什 怀疑论美学 生态美学 中西文化 

分 类 号：G63[文化科学—教育学]