美学的自律性和批判性

Aesthetic Autonomy and Criticalness

康德确立的审美"超功利"是美学的自律性,它作为一种特殊的精神功利,直接体现为精神机能的协调运作。布尔迪厄确定美学的社会学维度、自称"反康德",卡尔松、伯林特以人在环境中的"参与"为依据否定美学的自律性,存在着明显的逻辑瑕疵。美学在经济和生活领域的价值,最终来自它的自律性。艺术和生活合流、把传统的美学原则运用于当代艺术,暴露了传统美学的缺点,艺术美学因为缺乏超验层面有一定的局限性,但不能说艺术美学已经走入了死胡同。美学的批判性源于艺术不断创造新形式的使命,在指向自身和指向世界的辩证关系中进行批判,不能从抽象的形式主义角度理解自律性,它是具体的——包容涵纳了审美对象的整体。

Kant’s aesthetic "super utility" is the self-discipline of aesthetics.As a special spiritual utility,it is directly reflected in the coordinated operation of spiritual functions.The sociology aspect proposed by Pierre Bourdieu is called anti-Kant.Allen Carlson and Arnold Berleant deny aesthetic autonomy based on human’s engagement within the environment,which is apparently flawed.The value of aesthetics in economy and life stems from its autonomy.The merge of aesthetics and life and the application of aesthetic theory in modern history expose the traditional aesthetics’ flaw.Art aesthetics is also limited due to its lacking in transcendent interpretation.However,art aesthetics does not have a dead end.Aesthetic criticism originates from the mission of art to create new forms constantly.It is realized in the dialectical relationship between itself and the world.Autonomy cannot be understood from the perspective of abstract formalism.It is concrete and contains the whole of aesthetic object.