《巴黎手稿》与作为文化哲学的美学

Paris Manuscripts and Aesthetics as Philosophy of Culture

文化哲学与美学的同一性问题,是'作为文化哲学的美学'这一理论构想得以成立的关键。在《巴黎手稿》中,文化作为'自然的人化'与'人的本质力量的对象化',与审美具有同样的感性存在论基础;'美的规律'是作为文化活动的一般形式的文化生产的根本规律,且贯穿于文化生产的全部历史过程之中;共产主义作为文化理想,将'审美的人'视为理想的人。可以认为,《巴黎手稿》对文化哲学与美学之间的同一性进行了深刻的论证。

The identity between philosophy of culture and aesthetics is the key to the establishment of the theoretical conception of 'aesthetics as philosophy of culture'.In Paris Manuscripts,firstly, as 'nature-humanization' and 'objectification of man’s essence power', culture has the same perceptual ontological basis as aesthetic;secondly, 'law of beauty' is the fundamental law of cultural production as a general form of cultural activities, and runs through the whole historical process of cultural production;thirdly,as a cultural ideal,communism regards the 'homo aesthetics' as the ideal person. It can be concluded that Paris manuscripts profoundly demonstrates the identity between cultural philosophy and aesthetics.