摘要
杨春时先生的超越美学是当今实践美学与后实践美学之争的主要代表。在杨春时看来,实践美学是启蒙性质的主体性美学,不能解决审美作为自由活动和真理的体验何以可能的问题,因此需要建立主体间性美学。在具体的建构方面,杨春时以反思—超越的现代性代替启蒙现代性、以生存本体论代替实践本体论、以主体间性代替主体性,全面建构了超越美学的理论体系。这样,反思—超越、生存本体论、主体间性就成了理解其理论体系的关键所在。但这些概念之间的逻辑关系在杨春时美学体系中是不严谨、甚至混乱的,由此造成了其美学体系的内部矛盾,消解了自身的价值。
The transcendental aesthetics of Yang Chunshi is a main representative of the debates between practical aesthetics and post-practical aesthetics. In the opinion of Yang Chunshi, practical aesthetics is an enlightened subjectivity aesthetics, which can＇t resolve the problem, that is, how, aesthetic appreciation, as a free activity and experience of truth, is achieved. So he has created the inter-subjectivity aesthetics. Specifically, Yang Chunshi substitutes transcendental modernity for the enlightened modernity, the existence of ontology for the the practical ontology and inter-subjectivity for subjectivity, by which he constructs his aesthetic theory in an all-round way. So these notions （such as transcendental modernity, existence of ontology, inter-subjectivity） are the key to understanding his aesthetic theory. However, the logical connection of these concepts is vague and confusing, which brings about the internal contradiction in Yang Chunshi＇s aesthetic theory, and thus eliminates its value.
出处
《江南大学学报（人文社会科学版）》
2008年第5期138-142,共5页
Journal of Jiangnan University：Humanities & Social Sciences Edition
关键词
超越性
生存本体论
主体间性
Transcendency
Existence of Ontology
Inter subjectivity
