本文選題：韋爾施美學(xué) + 日常生活審美化��； 參考：《煙臺(tái)大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版)》2007年02期

【摘要】：在當(dāng)前關(guān)于日常生活審美化的討論中,德國(guó)后現(xiàn)代美學(xué)家沃爾夫?qū)?韋爾施的名字出現(xiàn)頻率較高,他的理論被當(dāng)作肯定或倡導(dǎo)日常生活審美化的西方權(quán)威而受到高度重視。然而韋爾施對(duì)日常生活審美化所采取的態(tài)度是批判性的,他的理論不僅不能為中國(guó)美學(xué)當(dāng)前嚴(yán)重的實(shí)用主義傾向提供任何證明,相反,我們看到了他對(duì)倫理學(xué)和認(rèn)識(shí)論等縱深層次審美化的論證�！皩徝阑备拍钌婕暗巾f爾施美學(xué)的審美中斷、盲點(diǎn)文化、藝術(shù)的雙重結(jié)構(gòu)和重構(gòu)美學(xué)等問題;作為比照,我們同時(shí)也看到了中西“后學(xué)”之間的真正差距。
[Abstract]:In the current discussion of the aesthetics of everyday life, German postmodern aesthetician Wolfgang. Versch's name appears frequently and his theory is regarded as the western authority to affirm or advocate the aesthetic of daily life. But Versch's approach to the aesthetic of everyday life is critical, and not only does his theory not provide any proof of the current serious pragmatism of Chinese aesthetics, but, on the contrary, We see his argumentation of ethics and epistemology. The concept of "aestheticization" involves the aesthetic interruption, blind spot culture, the double structure of art and the reconstruction of aesthetics, etc. As a contrast, we also see the real gap between Chinese and Western "post-learning".
【作者單位】： 首都師范大學(xué)文學(xué)院
【分類號(hào)】：B83-06

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1 鄒華;;韋爾施美學(xué)的“審美化”概念[J];煙臺(tái)大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2007年02期

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