当代文艺学和美学:没有说完的话

朱立元认为,20世纪中国文论和美学,并非"全盘西化"的过程,而是既不同于古代传统文论和美学、又不同于西方文论和美学的现代文论和美学新传统的建构、生成过程。20世纪的中国文论和美学已经形成了自己的新传统。其在当前的发展中面临的深层问题在于基本理论缺乏与"史"和批评的互动、互通。当代中国文艺学和美学走出困局的必由之路,仍在于立足于如何解决当前中国文学所面临的这一现实问题,并在解决现实问题的同时,达到理论、批评、历史三方面的协调和统一,形成整体突破。高建平则认为,我们只有来自西方的"美学在中国"和美学的史前史,没有中国美学。提出"文化多样性"口号的背后有着深层的审美的普世性与地方性之间的张力关系。今天我们需要建构真正意义上的具有普世性的"中国美学"。王建疆认为,学科首先要讲公理、范式、共性,而不是盲目追求所谓特色或个性。同时,也不能从学科发展的水平高低来论断该学科是否存在,而是要放眼现实。其发展也应该遵循自然之道,而不是盲目的重构。

Tradition and Development of literary and Aesthetics in China (Symposium)

Zhu Liyuan believes that the 20th century Chinese literary theory and aesthetics have established their own tradition.A deep-stratum problem in its development lies at a lack of basic theory,as well as an inter-action between "history" and criticism.The only way out this predicament is to achieve a co-ordination and a unity of theory,criticism and history for a holist breakthrough.Gao Jianping believes that there is no such thing as Chinese aesthetics.The putting-up of the slogan "the multiplicity of culture" has a deep-rooted background of tension between universality and locality in aesthetics.What wee need nowadays is a real-meaning universal "Chinese aesthetics".Wang Jianjiang points out that a principle is in need of explicating its axiom,paradigm and common ground,rather than blindly pursuing a so-called characteristics or individuality.The development of a principle should abide by a natural way,rather than a blind reconstruction.