崇高美学的现代变体——从康德到韦尔施  

Modern Variants of Sublime——from Kant to Welsch

作　　者：朱志勇[1] Zhu Zhiyong(School of Journalism and Communication,Heilongjiang University,Harbin Heilongjiang,150080)

机构地区：[1]黑龙江大学新闻传播学院,黑龙江哈尔滨150080

出　　处：《山东师范大学学报（社会科学版）》2023年第5期61-68,共8页Journal of Shandong Normal University(Social Sciences)

基　　金：黑龙江省哲学社会科学研究规划项目“人工智能媒介时代日常生活审美化研究”(22ZXE483)的阶段性成果。

摘　　要：从关注优美到关注崇高的转变,是现代美学的一个显著特征。从康德开始,其崇高理论中的超验、反思和自治的崇高遗产一直被后人批判性地继承,展现了崇高美学的各种现代变体。阿多诺超越康德形而上学视角并吸收其崇高的自治性遗产,其理论彰显了现代艺术自治的崇高美学本性;利奥塔在阿多诺的基础上更是继承了康德崇高论中的超越意识和无限性观念,其理论揭示了现代艺术某种不可把握、不可感知的异质性的崇高美学表征;这些崇高理论都被韦尔施在后现代美学谱系中继承和发扬,其理论构筑了后现代艺术“超越美学的美学”“反审美”的崇高美学特征。Modern aesthetics pays more attention to sublime than to beauty and elegance,which is an obvious characteristic of modern aesthetics.Since the beginning,Kant’s idea of transcendentalism,reflection and autonomy has been inherited critically,demonstrating all kinds of variants of sublime aesthetics.Adorno surpassed Kant’s metaphysics perspective,absorbed Kant’s the autonomy of sublime and showed modern art’s autonomous essence of sublime aesthetics.On the basis of Adorno’s studies,Lyotard inherited transcendentalism and infinity in Kant’s idea of sublime,and displayed the uncertain and imperceptible tendency of modern arts.All these theories related to sublime have been inherited and expanded by Welsch in his“anti-aesthetics”,which constitutes the essence of post-modern aesthetics———“beyond Aesthetics”“anti-aesthetic”.

关 键 词：崇高 美学 现代变体 后现代 

分 类 号：I01[文学—文学理论]