主体间性与中国当代美学—“新时期”之回顾及“新时代”之展望

1949−1989年，中国学者将美学理解为“美的学问”；1990年至今，“审美学”成为最主要的美学理解。近年来，“主体间性”成了中国美学界的一个关键词，或可作为回顾“新时期”美学和展望“新时代”美学的一个瞭望台。在哲学基础方面，随着改革开放之后现象学的涌入，中国当代美学的主体间性转向已悄然发生。“新时期”以来的重要美学成果如实践美学、新实践美学、后实践美学、生命美学、境界美学、现象学美学，或多或少都有主体间性的因素，为建构真正的主体间性美学预备了砖瓦。在学科性质方面，主体间性美学亦即“作为文化哲学的美学”。对于经历了美学和审美学两大阶段的“新时代”美学，其历史使命，是超越“新时期”的审美学，走向文化哲学。如此既能走出当前审美学停滞不前的困境，又能与世界美学的发展保持同步。

Intersubjectivity and Chinese Contemporary Aesthetics

In recent years, “intersubjectivity” has become a key word in contemporary Chinese aesthetics, we can start from tracking the development of this concept to give the review of “New Period” aesthetics and the prospect of “New Era” aesthetics. The philosophical background of intersubjectivity has been changed quietly as the influx of phenomenology after the China’s Reform and Opening-up. Important achievements of aesthetic since the New Period, such as practical aesthetics, new practical aesthetics, post-practical aesthetics, life aesthetics, realm aesthetics, phenomenological aesthetics, all contained the concept of intersubjectivity, which make the preparation for developing a true intersubjective aesthetics in the future. Intersubjective aesthetics can be also seeing as “the aesthetics of cultural philosophy”. The aesthetics of the New Period have experienced two major stages: the first is from 1949 to 1989, Chinese scholars interpreted aesthetics as “the scholarship of beauty”; the second is after 1990, “aesthetics” has changed into the understanding of aesthetics experience. Only taking the aesthetics as cultural philosophy can we beyond the New Period aesthetics and built the New Era aesthetics, which can help us to get out of the current stagnation of aesthetics and keep pace with the development of world aesthetics.