本文選題：實(shí)踐存在論美學(xué)　切入點(diǎn)：存在論哲學(xué)　出處：《廈門大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版)》2010年03期 　論文類型：期刊論文

【摘要】：實(shí)踐存在論美學(xué)于20世紀(jì)90年代從實(shí)踐美學(xué)發(fā)展而來。實(shí)踐美學(xué)以本體論為基礎(chǔ),挑戰(zhàn)長(zhǎng)期占正統(tǒng)地位的認(rèn)識(shí)論美學(xué),主張藝術(shù)審美的獨(dú)特性,但卻造成所謂的"本體論之誤"。為應(yīng)對(duì)批評(píng),實(shí)踐美學(xué)借鑒和吸收海德格爾存在論哲學(xué),最終形成了實(shí)踐存在論美學(xué)。實(shí)踐存在論美學(xué)把生存意義的實(shí)踐提升到本體意義的高度,又把本體擴(kuò)展為"源域",但其實(shí)并未真正走出本質(zhì)主義,還將屬人的實(shí)踐曲解為最高和最終的范疇。同時(shí)它還面臨著將海德格爾的存在論哲學(xué)和馬克思主義的歷史唯物論聯(lián)結(jié)在一起的難題,它對(duì)前者的引用和理解是后現(xiàn)代解構(gòu)式的闡釋,因而無法達(dá)到借助其夯實(shí)自己基礎(chǔ)的目的。實(shí)踐存在論美學(xué)的關(guān)鍵問題,在于它始終把某個(gè)特定觀念當(dāng)成"第一原理",再據(jù)以探討美和藝術(shù),而不顧及鮮活的藝術(shù)審美活動(dòng)。
[Abstract]:In 1990s, practical ontology aesthetics developed from practical aesthetics. On the basis of ontology, practical aesthetics challenged epistemological aesthetics, which had long occupied an orthodox position, and advocated the uniqueness of artistic aesthetics. In response to criticism, practical aesthetics draws lessons from Heidegger's existential philosophy. The practical existentialism aesthetics promotes the practice of existential meaning to the level of Noumenon meaning, and extends the Noumenon to "Source region", but it does not really walk out of essentialism. It also misinterprets personal practice as the highest and final category. It also faces the problem of linking Heidegger's existential philosophy with Marxist historical materialism. Its citation and understanding of the former is a post-modern deconstruction, so it can not achieve the purpose of consolidating its foundation. The reason is that it always regards a particular concept as "first principle" and then discusses beauty and art without regard to the fresh aesthetic activities of art.
【作者單位】： 華東師范大學(xué)中文系;
【分類號(hào)】：B83-06

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本文編號(hào)：1634319