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作为知识的美学艺术在二元论时代,取得了长足的发展,而其最为关键的“美”与“审美”却被边缘化,走上了一条被遗忘的道路。使得看似最为明白的美学艺术问题又陷入思想的困境。不论是以往的种种美学观,还是当今甚为流行的“日常生活审美化”的观点,都没有将“美学难题”解决。针对这一流行观点,笔者对其进行了考察,并从审美与生活互化合一和生活与意义互置统一的维度,对其进行了修正,进而提出“意义美学”。在意义世界中,审美要回到自身。审美是一种超越二元对立的活动,融主客于一体;审美活动充盈着丰富的意义;审美意义是审美之为审美的东西。同时,审美也是一种赋意活动,使意义世界不断充实。审美就是意义世界中人显示存在的自由活动。审美是意义的象征。
As a kind of aesthetic art of knowledge, great progress has been made in the era of dualism. However, the most critical “beauty” and “aesthetic” are marginalized and embarked on a forgotten path. Making the seemingly the most obvious problem of aesthetic art fall into the plight of thought. No matter from the past all kinds of aesthetics, or today’s very popular “aesthetics of everyday life ” point of view, are not “aesthetic problems ” solution. In view of this popular point of view, the author has carried on the inspection to it, and has revised it from the perspective of the unity of the aesthetic and the life, and the unity of life and meaning, and then proposed “Aesthetics of Meaning ”. In the world of meaning, aesthetics is to return to itself. Aesthetic is a kind of activity that transcends dualistic opposition and integrates the subject and the subject; the aesthetic activity is full of rich meanings; and the aesthetic meaning is aesthetic and aesthetic. At the same time, aestheticism is also a kind of voluntary activity that keeps the world of meaning constantly enriched. Aesthetic is the free movement of people in the world of meaning. Aesthetic is a symbol of meaning.