当代文化批评的困境与新审美主义的突围  

Dilemma of Contemporary Cultural Criticism andBreakthrough of New Aestheticism

作　　者：张金娟 ZHANG Jin-juan(School of Literature,Shandong University,Jinan 250100,China)

机构地区：[1]山东大学文学院,山东济南250100

出　　处：《榆林学院学报》2024年第6期61-67,共7页Journal of Yulin University

摘　　要：进入新世纪以来,西方文艺理论界出现了回归审美的趋势,这种趋势在新审美主义中得到了集中体现。新审美主义既是对自古希腊时代便出现的诗哲之争的当代回应,也是对当代文化批评中工具主义和反审美思想的反思和纠偏。新审美主义针对艺术的本质、艺术的功能问题展开深入的探讨,这些探讨推动了新审美主义在批评实践中对文学作品的审美特性进行细致的审视,并采取了一种“超级特写”和“他者阅读”的方法,对个体的审美经验给予了充分的关注。然而,新审美主义者并不追求构建一个宏大的美学体系,而是试图在具体的艺术作品中发现新的审美观念和解释方法。Since the beginning of the new century,there has been a tendency in returning to aesthetics in Western literary,which is embodied in new aestheticism.New aestheticism is not only a contemporary response to the debate between poetry and philosophy,but also a reflection and correction of the instrumentalism and anti-aestheticism in contemporary cultural criticism.It engages in in-depth discussions on the nature and function of art,which have driven the new aestheticism to conduct meticulous examinations of the aesthetic characteristics of literary works in critical practice and adopt a method of“ultra close-up”and“other reading”to give full attention to the individual’s aesthetic experience.However,new aestheticism do not aim to build a grand aesthetic system,but rather seek to discover new aesthetic concepts and interpretive methods in specific artworks.

关 键 词：文化批评 新审美主义 审美特性 

分 类 号：I06[文学—文学理论]