【摘要】：正王志亮(河北大學(xué)藝術(shù)學(xué)院藝術(shù)理論與教育教研部副主任):您在上世紀(jì)90年代出版過《透支的想象:現(xiàn)代性哲學(xué)引論》,此后,您一直從事西方現(xiàn)當(dāng)代藝術(shù)理論的翻譯和研究工作。您之后的著作《20世紀(jì)藝術(shù)批評(píng)》,以及現(xiàn)在組織翻譯的"鳳凰文庫·藝術(shù)理論研究系列"已成為該領(lǐng)域的必讀書目。是什么促成您從哲學(xué)美學(xué)轉(zhuǎn)向西方現(xiàn)當(dāng)代藝術(shù)理論的研究?沈語冰(浙江大學(xué)美學(xué)與批評(píng)理論研究所所長(zhǎng)、教授):你提到的第一本書正是那種學(xué)者們經(jīng)常后悔的少作。這本書與
[Abstract]:Zheng Wang Zhiliang (Deputy Director, Department of Art Theory and Education and Research, School of Art, Hebei University): you published "the Imagination of overdraft: an introduction to the philosophy of modernity" in the 1990s, and since then, You have been engaged in the translation and research of modern and contemporary art theories in the West. Your later book, criticism of Art in the 20th Century, and the series of theoretical Studies of the Phoenix Library of Art, now organized and translated, have become a required bibliography in this field. What has prompted your shift from philosophical aesthetics to the study of modern and contemporary art theories in the West? Shen Yubing (Professor, Director, Institute of Aesthetics and critical Theory, Zhejiang University): the first book you mentioned was the kind of underwriting that scholars often regret. This book is related to
【作者單位】： 河北大學(xué)藝術(shù)學(xué)院藝術(shù)理論與教育教研部;
【分類號(hào)】：J110.9
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本文編號(hào)：2308049