【摘要】：中國(guó)美學(xué)從20世紀(jì)前半期的四模式,到20世紀(jì)五六十年代美的本質(zhì)的四派,再到改革開(kāi)放后的四種演進(jìn)關(guān)結(jié),基本上是在世界主流文化影響下的一種中國(guó)現(xiàn)代學(xué)術(shù)建構(gòu),當(dāng)中國(guó)經(jīng)歷一百多年的奮斗而進(jìn)入崛起的態(tài)勢(shì),且處于一個(gè)全球化時(shí)代多種文化并存的重要性日益突顯的時(shí)候,一種把中國(guó)美學(xué)資源在理論上融入世界學(xué)術(shù)通用規(guī)則,以重建中國(guó)現(xiàn)代美學(xué)的本土形態(tài),或許象征了中國(guó)現(xiàn)代性的另一面。
[Abstract]:From the four models in the first half of the 20th century, to the four schools of the essence of beauty in the 1950s and 1960s, to the four kinds of evolution after the reform and opening up, it is basically a kind of modern Chinese academic construction under the influence of the mainstream culture of the world. When China experienced more than one hundred years of struggle and entered the situation of rising, and at a time when the importance of the coexistence of many cultures in a globalized era became increasingly prominent, a kind of Chinese aesthetic resources were theoretically integrated into the general academic rules of the world. Reconstructing the native form of Chinese modern aesthetics may symbolize the other side of Chinese modernity.
【作者單位】： 四川外語(yǔ)學(xué)院中外文化比較研究中心
【分類號(hào)】：B83-092
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本文編號(hào)：2419493