摘要
如何超越"二元对立"思维框架,是21世纪中国艺术美学创新的基本问题。在这一基本问题的探讨上,我国出现了"后二元对立"和"前二元对立"两种超越模式,后一种超越模式主要源于海德格尔"终极构成"的"境域"论思路。按照这种划分,我国学者过去讨论中国传统艺术美学的"天人合一"基本思路仍然属于在"二元对立"基础上加以整合的"后二元对立"框架,尚未达到在"二元对立"发生之先敞开的"前二元对立"的"境域"论高度。其实,中国传统哲学美学探讨的恰恰可能是"前二元对立"的世界,所以,海德格尔的"前二元对立"思想与中国传统艺术美学的基本思想具有会通之处,这种会通探索拉开了中国传统艺术美学思想当代转换的深层帷幕。
It is a basic problem for Chinese art aesthetics in the 21st century how to go beyond the mindset of ＂binary opposition＂. There are two kinds of models in China, ＂postbinary opposition＂ and ＂pre- binary, opposition＂, and the latter of which comes from Heidegger＇s idea of ＂throughout domain＂ of the ＂ultimate constitute＂. Many scholars have pointed out that the idea of ＂throughout domain＂ of non - existing is associated with the traditional basic idea of Chinese art aesthetic, which will uncover the deep curtain for Chinese traditional aesthetics to convert contemporary art.
出处
《南开学报（哲学社会科学版）》
CSSCI
北大核心
2010年第1期53-59,共7页
Nankai Journal:Philosophy,Literature and Social Science Edition
关键词
超二元对立
前二元对立
后二元对立
终极构成
Beyond- Binary Opposition
Post- Binary Opposition
Pre- Binary Opposition
Ultimate- constitute
