Chinese contemporary aesthetics nonaesthetic play their causes毕业论文翻译.docx

1、Chinese contemporary aesthetics nonaesthetic play their causes毕业论文翻译 Chinese contemporary aesthetics non-aesthetic play their causes 1950-80s art and aesthetics spite encounter winter, but also Yangbo Mountain Dew, attracted wide interest with a high degree of enthusiasm, and even the formation of a

2、 universal aesthetic thought. Marginalization of serious art and aesthetics, long death difficult chase difficult amazingly dream. however, in fact, Chinese contemporary aesthetics boom occurred not simply because of the art and aesthetics of their own sake, but because of its link to act as a speci

3、al time in Chinese contemporary thinking or thinking of painting during this period a layer “aesthetic” color. “aesthetic” has become an important feature of the history of ideas or links. Chinese contemporary art and aesthetics of non-aesthetic play phenomenon is closely related to, on the one hand

4、, and the characteristics of its need of external reality, on the other hand, aesthetics inherent characteristics intrinsically linked depth combing and analysis of Chinese contemporary aesthetic encounter understanding of the history of Chinese thought that stage characteristics, and literature on

5、the multi-functional and aesthetic shaped in order to effectively cope with the nature of art and aesthetic conditions have significance. When people talk about the topic of intellectual history, art and aesthetics more often excluded from the outside and vice versa, to discuss literary and artistic

6、 beauty hours, despite also comes to ideological background, but always two divided clearly The reason is very simple, literature and art, and aesthetics, history of belonging to special categories For example, when addressing the “Cultural Revolution” to the ideological course of the 1980s, people

7、tend from overt ideological emancipation movement (such as the practice of testing truth standard “discussions) and humanitarian discussions directly enter an important stage in modern Chinese thought -” Cultural Fever “in terms of the wave of art and aesthetics, and was in full swing, and never as

8、an integral part of the history of ideas. In fact, even before the big discussion of the criterion of truth already germination and continued into the art and aesthetic craze of the mid-1980s, is itself an expression of the ideological emancipation movement and humanitarian discussions Qichao Road,

9、“where thinking none of the can tide, boomers who, use a grace of value appropriate to their era also. “Mountain” Aesthetics “is the full time care of the art of” thinking “ and aesthetics Tide. Before the period of the ideological emancipation movement, intellectual focus on exposing and criticizin

10、g the “Cultural Revolution” started “Gang of Four”, but still ideological discourse mode of the “Cultural Revolution” commenced. “Two whatevers” is epitomized. << Practice is the sole criterion for testing truth >> published six months ago, called << teacher >> already advent

11、 of the pure literary magazines of the highest level in China, opened a prelude to the “scar literature” Even in purely ideological theory, content has gone far beyond the criticism of the “gang of four” hit a negation of the “Cultural Revolution” the the deepening development as a “scar literature”

12、 and “reflection Literature, as well as synchronization open-and-coming” Misty “and” Stars Exhibition “further expand the depth holistic historical reflection from the level of human nature and human existence. despite the year even behind the faction critics conferred Misty to the so-called “new ae

13、sthetic principles, the ldquo; horn disdain for the spirit of the times, but also disdain to the performance of their emotions the world outside of the great achievements “, not directly to glorify life, but the pursuit of the secret of life is dissolved in the mind”, but that in itself is distincti

14、ve to promote a spirit of the times and all this, as early as in the humanitarian before, had concern with the of Alienation problem in theoretical circles occur widely in the field of literature and art. “Scar literature”, “Reflection Literature”, “Misty” and “Stars Exhibition” normalized “was a re

15、flection of the Aesthetics”, but the reason why “aesthetic” rather than “art” with the name of this boom is because of aesthetic theory at that time by the “Cultural Revolution” before the first big topic of discussion again rallied together to debut the fall academic thinking discussion, but as a r

16、eflection started in early influence of the large, not less favorable than those prevailing literary and artistic creation . the famous esthetician Zhu Guangqian, Zenitani financial Er Tai Gao, et al published numerous articles, has greatly promoted the discussion of the rise of the Chinese thought

17、academic from the political level to the level of humanity and history into the deep, directly contributed to the humanitarian Alienation. Research in terms of the more purely aesthetic, Guangqian In 1979, the first professional Chinese contemporary aesthetics publication, edited by the philosophy o

18、f aesthetics Research Center of the Chinese Academy of Social Sciences large >> 1978 << viewpoints and methods of aesthetic history Series advent .1980 << aesthetics >> << the aesthetics asked >> Bulletin, literature Literature and Art Theory Research Editor >&

19、gt; << aesthetics FORUM began publishing the study of aesthetics into climax. organized by the Ministry of Education, the founding of the first time since college aesthetics teacher education classes Guangqian, Wang Zhaowen, Cai Yi, Li Zehou taught and trained a large number of aesthetic facul

20、ty, in 1981, of the important works of aesthetic climax basically a homogeneous, such as Zhu Guangqian << Tan Letters >> cases Bai Hua << aesthetics walking >> the Chiang Kongyang << >> of German classical aesthetics, Wang Zhaowen << Introduction to Aestheti

21、cs >> called Aesthetics “flag” and “mark” the course of the United States >> << (of which the first three chapters of 1980 << aesthetics >> second first published). these seemingly simple aesthetics academic event, actually contain a profound ideological significance. p

22、urpose of school development, the aesthetic discussion compared fifty-six decades on behalf of the discussion there is no fundamental changes, is still largely objective faction, the “subjective send”, “subjective and objective the central allocation” and “practice school” division. yet it caused in

23、 full swing repercussions together with literary and artistic creation, study its origins, but because of “aesthetic acts as an important wing of the ideological emancipation movement, or said to play the role of ideological enlightenment”. ideological enlightenment . digging toward the depths of th

24、e nations history and culture, “they formed later “cultural fever.”, therefore Li Zehou believes that “If Broadly speaking, cultural hot inside including aesthetics hot or aesthetics hot prelude to or part of the cultural hot.” << beauty course >> impact , there is a breakthrough in the

25、sense of the way of thinking and the academic path. subjective practice that in such a rich academic path and method of refreshing, to the intellectual academia excitement and inspiration in Marxist discourse structure more effective breakthrough the traditional epistemological even ontological dogm

26、a thinking, was undoubtedly the the Li Zehou subjectivity practical philosophy “. cornerstone as Li Zehous theory of history and culture, an important clue to the formation of” cultural fever “and ideological sources of was for a while the majority of young people are respected Lees theory “Culture

27、Fever” stricken some radical views critical, but second to none in the field of Marxism in China, until this “subjective practical philosophy, they from its aesthetic research under the influence of the aesthetic craze, some literary criticism, but also by the literary step humanity research. If you

28、 said, the significant ideological emancipation movement in the meaning of the “liberation” is often understood mainly Reply ideological content and ideas before the “Cultural Revolution” inclusive width, then the potential wave of art and aesthetics “liberation”, is completely a sharp onrush a word

29、, late 1970s, early 1980s, the field of Chinese thought, artistic creation and aesthetic discussion, with its unique form of ideological history of the ice-breaking mission. “aesthetics” thinking “, or by means of artistic creation and aesthetic studies and ideological self-examination as the nature

30、 of the events of the history of ideas, making art and aesthetics boom in 1980s, or since the end of the” Cultural Revolution “to” cultural hot stage of the history of Chinese thought has been with aesthetic color characteristics abundantly clear. then, a wave of art and aesthetics, and how it had b

31、ecome the intellectual history events, and even act as a link in the development of the history of ideas which has a history of a specific ideological background causes. People in terms of literature and art, despite the “Cultural Revolution” which, even 17 years before the “Cultural Revolution”, th

32、e hardest hit in the fields of literature and arts is a leftist ideology route, but also because of it, making the “Cultural Revolution” is particularly sensitive for administrative measures to interfere artistic creation, which in turn led to the “tolerance” of literary, artistic and literary theor

33、y innovation special, that it has become a good bunker emerging thinking on aesthetic research, continued for eight of the “Cultural Revolution” years of the aesthetic discussion (1956-1964), is not only regarded as an important stage of the development of modern Chinese aesthetics, and was seen as a leftist ideology during the “miracle” Although this di