More attentions have been paid to the relationship between institution and aesthetics/art, as the core issue of contemporary aesthetics in the background of linguistic turn and anthropological turn of contemporary aes...More attentions have been paid to the relationship between institution and aesthetics/art, as the core issue of contemporary aesthetics in the background of linguistic turn and anthropological turn of contemporary aesthetics. The contemporary transformation of aesthetic/art institution is triggered by the multiple contradictions and complications among aesthetic/art and institution. One critical way to enable contemporary aesthetics to exceed traditional paradigm of aesthetics and art criticism is to rethink the institutional dimension of the aesthetic and art. On the basis of ethnographic exploration of contemporary social situation, contemporary mechanism of art circle and all kinds of critical consciousnesses, the criticism of aesthetic institution has motivated multiple dimensions of contemporary aesthetic criticism. According to the contemporary circumstances, the criticism dimension of contemporary aesthetics mainly focuses on the following several themes： the aestheticization of everyday life; the deconstruction and reconstruction of the boundary of beauty; art by metamorphosis： the formulation mode of art; criticism of aesthetic capitalism： distinction and cross boundary; political potential of the art of volneralble groups： the power of aesthetic resistance; aesthetic institution criticism and liberal government. On the basis of the above, the ultimate respect to ＂beauty＂ by contemporary aesthetics is to start two dimensions, i.e., poetics and politics of contemporary aesthetics eventually by clarifying the relationship between the aesthetic and art and politics/power, and practicing some transcendence by taking the aesthetic as one special institutional form.展开更多
Contemporary Chinese cultural criticism is facing traditional three factors. That are： literary criticism, belletristic criticism and Chinese-style criticism; contemporary transformation from western cultural critici...Contemporary Chinese cultural criticism is facing traditional three factors. That are： literary criticism, belletristic criticism and Chinese-style criticism; contemporary transformation from western cultural criticism and consciousness of problems in contemporary Chinese culture together form a problem domain of cultural criticism; during the 30 years, literary discipline knowledge has evolved from the aesthetic to the culture and the weakening and missing of beauty and poetry become a weakness of cultural criticism. Concerning about the study of repression mechanism for appreciation as well as strengthening the aesthetic nature is the proper attitude literary researcher should have while intervening cultural criticism.展开更多
Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. Nowadays in China this artistic revolution has sparked a vivid debate among the art critics on three...Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. Nowadays in China this artistic revolution has sparked a vivid debate among the art critics on three main topics： （1） definition of the phenomenon; （2） analysis of its nature; and （3） classification of the artistic production. In this article, all these aspects are analysed in order to give a comprehensive view of the present theoretical discussion and of its future development.展开更多
While fully affirming the positive influence that contemporary Western literary criticism has exerted on the construction of Chinese literary criticism, it is necessary to exercise discrimination with regard to contem...While fully affirming the positive influence that contemporary Western literary criticism has exerted on the construction of Chinese literary criticism, it is necessary to exercise discrimination with regard to contemporary Western literary criticism itself, to review its effectiveness when applied to Chinese literary practice, and finally to consider the reconstruction of Chinese literary criticism. Contemporary Western literary criticism has the following major limitations： it is detached from literary practice, interpreting both literary texts and literary experience in the light of the ready-made theories of other disciplines and generalizing them as universal literary rules; its criticism and even demolition of previous theories and methods mean that views with some reasonable elements are carried to extremes; and it uses a fixed one-size-fits-all model of scientism to expound particular texts. Contemporary Western literary criticism grows in the soil of Western culture, which differs from Chinese culture in terms of language, ethics and aesthetics; that determines the limitations of its theoretical application. The basic points for the construction of Chinese literary criticism are as follows： firstly, it should abandon its excessive reliance on foreign theories, and return to Chinese literary practice; secondly, it should uphold our national direction, return to theChinese context, and fully absorb the heritage of traditional Chinese literary criticism; and thirdly, it should understand and handle appropriately the relation between internal and external research and should build a research paradigm for the dialectical unity of the two.展开更多
基金Acknowledgements： This paper was sponsored by China National Social Science Foundation ＂Research on the Fundamental Problems of the Contemporary Aesthetics and Criticism Patterns＂ （15ZDB023）.
文摘More attentions have been paid to the relationship between institution and aesthetics/art, as the core issue of contemporary aesthetics in the background of linguistic turn and anthropological turn of contemporary aesthetics. The contemporary transformation of aesthetic/art institution is triggered by the multiple contradictions and complications among aesthetic/art and institution. One critical way to enable contemporary aesthetics to exceed traditional paradigm of aesthetics and art criticism is to rethink the institutional dimension of the aesthetic and art. On the basis of ethnographic exploration of contemporary social situation, contemporary mechanism of art circle and all kinds of critical consciousnesses, the criticism of aesthetic institution has motivated multiple dimensions of contemporary aesthetic criticism. According to the contemporary circumstances, the criticism dimension of contemporary aesthetics mainly focuses on the following several themes： the aestheticization of everyday life; the deconstruction and reconstruction of the boundary of beauty; art by metamorphosis： the formulation mode of art; criticism of aesthetic capitalism： distinction and cross boundary; political potential of the art of volneralble groups： the power of aesthetic resistance; aesthetic institution criticism and liberal government. On the basis of the above, the ultimate respect to ＂beauty＂ by contemporary aesthetics is to start two dimensions, i.e., poetics and politics of contemporary aesthetics eventually by clarifying the relationship between the aesthetic and art and politics/power, and practicing some transcendence by taking the aesthetic as one special institutional form.
文摘Contemporary Chinese cultural criticism is facing traditional three factors. That are： literary criticism, belletristic criticism and Chinese-style criticism; contemporary transformation from western cultural criticism and consciousness of problems in contemporary Chinese culture together form a problem domain of cultural criticism; during the 30 years, literary discipline knowledge has evolved from the aesthetic to the culture and the weakening and missing of beauty and poetry become a weakness of cultural criticism. Concerning about the study of repression mechanism for appreciation as well as strengthening the aesthetic nature is the proper attitude literary researcher should have while intervening cultural criticism.
文摘Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. Nowadays in China this artistic revolution has sparked a vivid debate among the art critics on three main topics： （1） definition of the phenomenon; （2） analysis of its nature; and （3） classification of the artistic production. In this article, all these aspects are analysed in order to give a comprehensive view of the present theoretical discussion and of its future development.
文摘While fully affirming the positive influence that contemporary Western literary criticism has exerted on the construction of Chinese literary criticism, it is necessary to exercise discrimination with regard to contemporary Western literary criticism itself, to review its effectiveness when applied to Chinese literary practice, and finally to consider the reconstruction of Chinese literary criticism. Contemporary Western literary criticism has the following major limitations： it is detached from literary practice, interpreting both literary texts and literary experience in the light of the ready-made theories of other disciplines and generalizing them as universal literary rules; its criticism and even demolition of previous theories and methods mean that views with some reasonable elements are carried to extremes; and it uses a fixed one-size-fits-all model of scientism to expound particular texts. Contemporary Western literary criticism grows in the soil of Western culture, which differs from Chinese culture in terms of language, ethics and aesthetics; that determines the limitations of its theoretical application. The basic points for the construction of Chinese literary criticism are as follows： firstly, it should abandon its excessive reliance on foreign theories, and return to Chinese literary practice; secondly, it should uphold our national direction, return to theChinese context, and fully absorb the heritage of traditional Chinese literary criticism; and thirdly, it should understand and handle appropriately the relation between internal and external research and should build a research paradigm for the dialectical unity of the two.
