“主体间性”美学理论对中国美学发展的意义——近年来“主体间性”理论讨论述评

"Inter-Subjectivity of Aesthetic Theory",Chinese Contemporary Literary Criticism of the Impact of Construction

以"主体间性"美学为代表的后实践美学在20世纪90年代被提出后,引起了学术界的广泛关注与争议。通过对"主体间性"美学理论发展过程的梳理和阐发,同时对比主体性美学与后实践美学的美学特征,可以发现,"主体间性"美学理论的提出在中国美学理论发展史上具有特别的意义。它在感知世界时从主客二分到主客一体,改变了人们认识世界的思维角度,在某种程度上克服了主体性美学的理论缺陷,解决了前实践美学没法解决的一些问题;它的提出也开辟了审美实践的新视野,为审美实践提供了一种新的审视方法,促进了美学理论建构的创新和完善,是当代美学理论发展中具有独特意义的重要成果。但是,作为一种新的美学理论形态,它面临着学者们的质疑也是必然的,因为它还有很多有价值的理论探讨空间,也有不少问题有待商榷,还需要不断地发展与完善。

The post-practice aesthetics as the representative of inter-subjectivity of aesthetics at 1990, has aroused wide attention from academics. The author of ＂aesthetic theory of inter-subjectivity＂ preliminary understanding, a comprehensive analysis of collation, and comparison of the main after the practice of aesthetics and the aesthetic characteristics of aesthetics, found that ＂inter-subjectivity aesthetics＂ of the proposed special significance. Two from the assigned subject and object of subjective and objective one, recognize the world has changed the way of thinking for the aesthetic practice of a new aesthetic approach, to promote the study of literature and art, aesthetic theory of innovation and perfection of construction. It suggested that to overcome the main shortcomings of the theory of aesthetics, aesthetic practice has opened up a new vision.