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作 者:张丹旸 ZHANG Dan-yang(School of Liberal Arts,Renmin University of China,Beijing 100872,China)
出 处:《兰州大学学报(社会科学版)》2023年第3期136-150,共15页Journal of Lanzhou University(Social Sciences)
基 金:国家社会科学基金重大项目“丝路审美文化中外互通问题研究”(17ZDA272)。
摘 要:马里翁在事件性阐释学中,以其独创的“充溢现象”为核心概念,通过事件、偶像、肉身、他者面容四种现象的区分与阐释,对当代美学问题、文化状况作出后现代态度的思考阐发,拓展与深化了现象学思想方法在文艺美学研究领域的运用与影响力。事件性阐释学通过揭示充溢现象的“自我发生”,来论证现象相对于主体理性认识能力的溢出。对不同充溢现象的事件性阐释,否定了西方传统的主客体认知逻辑,主体趋向被动,最终成为现象自我显现的接受者。马里翁通过对“形而上学终结”虚无主义危机下艺术文化现象的分析,从现象学传统出发为当代美学提供了新的理论视野和方法指导,破除美是实体的传统认识论观念,试图提出一种后现代崇高美学,对超出主体理性认识能力的审美经验与生活现象作出重点阐释,以事件性、具身性、瞬时性和碎片化的理论呈现表达美学研究的未来可能性。In the hermeneutics of eventness,Marion takes his original‘the saturated phenomenon'as the core concept,and through the distinction and interpretation of event,idol,flesh and the other face,he makes postmodern attitude reflections on contemporary aesthetic issues and cultural conditions,expanding and deepening the application and influence of phenomenology in the field of aesthetics research.Hermeneutics of eventness demonstrates the excess of phenomena relative to the subject's rational cognitive ability by revealing the'self occurrence'of the saturated phenomenon.The event-based interpretations of different saturated phenomena negate the traditional cognitive logic of the subject and object,and the subject tends to be passive,ultimately becoming the witness of self manifestation of the phenomenon.Through the analysis of the artistic and cultural phenomenon under the nihilism crisis of'the end of metaphysics',Marion provides a new theoretical vision and methodological guidance for contemporary aesthetics from the tradition of phenomenology,and breaks the traditional epistemology concept that beauty is an entity.He attempts to propose a postmodern sublime aesthetics,focuses on the interpretation of aesthetic experience and life phenomena beyond the subjective rational cognitive ability,and presents the future possibility of expressing aesthetic research with the theory of eventuality,embodiment,instantaneity and fragmentation.
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