| 中国审美现代性的四大范式及其命运 |
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| 引用本文： | 寇鹏程.中国审美现代性的四大范式及其命运[J].西南师范大学学报(人文社会科学版),2010(1):157-164. |
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| 作者姓名： | 寇鹏程 |
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| 作者单位： | 西南大学文学院,重庆市400715 |
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| 基金项目： | 教育部社科规划项目“中国审美现代性与社会现代性关系研究”（06JC75011-44014）,项目负责人：寇鹏程;中国博士后科学基金特别资助项目“马克思人学理论与中国美学建设”（200801148）,项目负责人：寇鹏程. |
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| 摘 要： | 通常认为中国的审美现代性是审美独立意识与工具意识之间的纠葛。而实际上中国审美现代性至少有四大范式性道路，即审美工具主义、审美独立主义、审美娱乐主义与审美批判主义。由于中国独特的社会现代性进程，这四大范式的命运各不相同。
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| 关 键 词： | 审美现代性 审美工具主义 审美娱乐主义 审美独立主义 审美批判主义 |
Four Paradigms and Their Fate of Chinese Aesthetic Modernity |
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| KOU Peng cheng.Four Paradigms and Their Fate of Chinese Aesthetic Modernity[J].Journal of Southwest China Normal University(Philosophy & Social Sciences Edition),2010(1):157-164. |
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| Authors: | KOU Peng cheng |
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| Institution: | KOU Peng cheng (School of Literature, Southwest University, Chongqing 400715, China) |
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| Abstract: | It is believed that the content of Chinese aesthetic modernity is the conflict between aesthetic independence and aesthetic toolism. In fact there are at least four paradigms of Chinese aesthetic modernity. The first is independence paradigm, the second is toolism paradigm, the third is entertainment paradigm, and the fourth is critical paradigm. They have different fates in Chinese modern aesthetic history. |
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| Keywords: | aesthetic modernity instrumentalism entertainment independence criticism |
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