杨春时的“超越美学”体系创构

The Establishment of Chunshi Yang's Aesthetics of Transcendence

杨春时是中国当代后实践美学的代表人物。在20世纪80年代实践美学占主导地位的时候,杨春时由对实践美学的信奉、反思,走向对实践美学的批判与否定,创构了独具特色的"超越美学"理论体系。伴随着理论基础从实践论向生存论、存在论的转变,他的美学思想历程走过了"实践"为本体的主体性超越美学、"生存"为本体的意义论超越美学、"存在"为本体的主体间性超越美学三个阶段。杨春时的美学理论基础及其形态虽然一直在变,但美与审美同一、美和审美的本质在对现实局限的超越这一"超越美学"思想始终如一。本文在历史变化中追踪和把握杨春时的"超越美学"内涵,对人们全面、准确地理解其"超越美学"体系具有重要的参考意义。

Chunshi Yang’s contribution to Post-Practical Aesthetics,which manifests itself as a critical engagement with Practical Aesthetics that had been dominant in China for decades since the 1980 sand a systematically conceived aesthetics of transcendence based on this engagement,is exceptionally prominent.The development of Chunshi Yang’s aesthetic thoughts,which transits through three models of aesthetics of transcendence in order—the model of a practical subject,the model of the meanings of existence,and that of the intersubjectivity of Being,is dependent on the philosophical resources by virtue of which Yang founded a solid ontological ground in each stage for the three models,i.e.,the theory of practice,Existentialism,and the ontology of Being.I claim that the principles of aesthetics of transcendence play an essential role in Yang’s models of aesthetics despite the transition,which are known as the integrity of aesthetic appreciation and beauty,and the embodiment of this integrity as a criticism of the reality.And this essay is a historical reading of Chunshi Yang’s aesthetics of transcendence,aiming at an adequate and accurate understanding of the structure of Yang’s aesthetic thoughts.