近十年汉语学界的西方美学译介与研究

Translation and Research of Western Aesthetics in Chinese Academic Circles in Past Decade

近十年汉语学界的西方美学译介和研究实现了“向后看”和“向前看”的双重融合,在系统性和新锐性上均有所突破,以我为主的意识更加突出。一方面译著数量跨越式增长,理论视野更为开阔,全面、系统的译介工程频现。德、法、美、英、意各国美学构成主要译介版图。另一方面,在德国美学主导的理论传统影响下,近十年高度关注新现实、新观念、新问题,由此带来美国美学译介的增长,法国理论、意大利思想也隐有后起之势,更多的“西学新人”首次进入汉语学界。与之相应国内学人积极融入国际美学讨论,促进了国际合作与平等对话,所关注的美学家身份也更为多样化,体现出跨学科的融合特征。汉语学界在逐步扭转被动局面,将西方美学融入本土语境并实现创造性转换,使之成为具有中国特色的美学话语体系建构的重要学术资源。

In the past decade, the translation and research of Western aesthetics in Chinese studies have achieved the dual integration of “looking backward” and “looking forward”, with breakthroughs in both systematization and originality, and with a more prominent sense of self-centered autonomy. The number of translations has increased by leaps and bounds, the theoretical vision has become more open, and comprehensive and systematic translation projects have emerged frequently. Aesthetics from Germany, France, the United States, England and Italy constitute the main translation map. Accordingly, domestic scholars have been actively involved in international aesthetic discussions, promoting international cooperation and equal dialogue, and the identity of the concerned aestheticians has become more diversified, reflecting the characteristics of interdisciplinary integration. The Chinese academy is gradually reversing the passive situation, integrating Western aesthetics into local contexts and achieving creative transformation, making it an important academic resource for the construction of an aesthetic discourse system with Chinese characteristics.