康德美学审美自律对中国美学的当代价值  

The Contemporary Value of Kant’s Aesthetic Self-Discipline to Chinese Aesthetics

作　　者：杨静 

机构地区：[1]北京外国语大学中文学院,北京

出　　处：《哲学进展》2023年第2期341-345,共5页Advances in Philosophy

摘　　要：审美自律性作为西方现代美学的核心概念,其确立也经历了一个过程。从十八世纪到二十世纪,在康德的基础上同时受时代思想的影响,审美自律的观念从主观审美态度到客观的审美形式等不同层面获得了充分的发展,并在二十世纪达到了一种理论自觉。真正在哲学意义上给予美学以独立地位的是康德。康德审美无利害性对中国美学产生巨大影响并至今对于当代中国文艺学美学重构有重要意义。李泽厚先生在批判继承康德美学的基础上提出的“主体性实践哲学”和“人类本体论美学”都不同程度地推动着中国当代马克思主义美学的主体论转向、审美论转向、价值论转向。其中审美论转向具体体现在三个层面:审美反映论、审美情感论和审美意识形态论;价值论转向则体现在两个层面:实践价值论和审美自由论。As the core concept of Western modern aesthetics, aesthetic autonomy has experienced a process of establishment. From the 18th century to the 20th century, on the basis of Kant and influenced by the thoughts of The Times, the concept of aesthetic self-discipline has been fully developed from the subjective aesthetic attitude to the objective aesthetic form and reached a kind of theoretical consciousness in the 20th century. It was Kant who really gave aesthetics an independent status in the philosophical sense. Kant’s aesthetic disinterest has a great influence on Chinese aesthetics and is of great significance to the aesthetic reconstruction of contemporary Chinese literature and art. On the basis of criticizing and inheriting Kantian aesthetics, Mr. Li Zehou put forward “subjective practical philosophy” and “human ontological aesthetics”, which have promoted the subjectivism, esthetic theory and axiology of contemporary Chinese Marxist aesthetics to varying degrees. The transformation of aesthetic theory is embodied in three aspects: aesthetic reflection theory, aesthetic emotion theory and aesthetic ideology theory;The turn of axiology is embodied in two aspects: practical axiology and aesthetic freedom.

关 键 词：审美自律性 中国 美学 

分 类 号：G63[文化科学—教育学]