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dc.contributor.author杨春时
dc.contributor.authorYANG Chun-shi
dc.date.accessioned2017-04-10T01:42:11Z
dc.date.available2017-04-10T01:42:11Z
dc.date.issued2017-04
dc.identifier.citation厦门大学学报(哲学社会科学版), 2017,240(2):1-7zh_CN
dc.identifier.issn0438-0460
dc.identifier.urihttps://dspace.xmu.edu.cn/handle/2288/127694
dc.description杨春时,四川美术学院设计艺术学院特聘教授。zh_CN
dc.description.abstract【中文摘要】古代美学建立在实体本体论之上,具有客体性。近代美学转向理性主体性。现代美学在实存哲学的基础上建立了非理性的主体性。后现代美学以他者性否定了主体性,建立了反主体性的美学。于是,主体被话语权力解构,审美和艺术成为无主体的能指的游戏和意义的消解。后现代反主体性美学虽然有反传统形而上学的合理性一面,但却排斥了审美主体,走向了另一个极端。美学的出路是超越主体性美学和反主体性美学,走向主体间性美学。 【Abstract】 Characterized by objectivity, ancient aesthetics is the foundation of the ontology of entity. Early-modern aesthetics shifted towards the subjectivity of reason. The subjectivity of non-reason is built on modern aesthetics. Post-modern aesthetics denies the subjectivity with otherness, replacing it with anti-subjectivity aesthetics. Hence, the subject has been destructed by the power of discourse, and aesthetic appreciation, along with art, has become the signifier's non-subject game and the dissolution of meaning. Post-modern anti-subjective aesthetics, as opposed to traditional metaphysics, has its reasonability, yet it rejects the subject of aesthetic appreciation, going to the other extreme. The way out for the aesthetics is to transcend both subjective aesthetics and anti-subjective aesthetics, and move towards inter-subjective aesthetics.zh_CN
dc.description.sponsorship国家社科基金重点项目“现代性视野下的20世纪中国美学史”(12AZD069)zh_CN
dc.language.isozhzh_CN
dc.publisher厦门大学学报(哲学社会科学版)编辑部zh_CN
dc.subject主体性zh_CN
dc.subjectsubjectivityzh_CN
dc.subject他者性zh_CN
dc.subjectothernesszh_CN
dc.subject反主体性zh_CN
dc.subjectanti-subjectivityzh_CN
dc.subject主体间性zh_CN
dc.subjectinter-subjectivityzh_CN
dc.subject美学zh_CN
dc.subjectaestheticszh_CN
dc.title反主体性美学批判与主体间性美学建构zh_CN
dc.title.alternativeA Critique of Anti-subjective Aesthetics and Construction of Inter-subjective Aestheticszh_CN
dc.typeJournal Paperzh_CN


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