美学的

The famous contemporary American aesthetician Thomas Munro initiates actively aesthetics towards science, the scientific aesthetics has been produced a widespread arid profound influence to western aesthetics., and it has been one of the two main kinds of western aesthetics.

当代美国著名美学家托马斯·门罗积极倡导美学应走科学美学之路，科学美学在西方美学界也产生了普遍而深远的影响，成为当代西方美学两大类型之一。

As a contemporary aesthetician, Jiangs aesthetics based not noly on Chinese traditional aestheitcs but also on neoteric western aesthetics. Confucianism and taoism from Chinese culture can be found mutually complementary in his theories.

作为当代美学家，蒋孔阳的美学思想不仅受中国传统哲学美学思想的影响，也受近代以来西方美学思想的影响，二者共同形成了蒋孔阳美学思想的理论渊源。

The western classical aesthetical methodology is based on natural science, including rationalist deductive method and empirical inductive method.

西方古典美学方法论是以自然科学为蓝本的，包括理性主义的演绎方法和经验主义的归纳方法。现代人文科学方法论建立后，西方美学方法论转向了体验-理解的方法，如现象学美学、解释学美学就是如此。

Then it surveys the macroscopic historical development of thestudy on Kantan aesthetics in China in the past hundred years,and discusses the influenceof formalist aesthetics on traditional aesthetic approaches.

本文从宏观的角度审视了康德美学在中国的百年历程，概观了中国美学中的康德美学，论述了形式主义美学对传统美学思维方式的改造。

The second part discusses the relationship between "the Nineteen Ancient Poems" and the trend of aesthetics thought in the last years of Eastern Han dynasty, firstly, analyzes the reasons of the trend of aesthetics thought in the last years of Eastern Han dynasty from five aspects, the decline of Confucianism , the reviviscence of Lao.

第二部分论述《古诗十九首》与汉末美学思潮之关系。第一，从经学的衰颓、老庄思想的复归、社会政治、经济、楚骚美学和汉代文学五个方面对汉末美学思潮的形成原因进行分析，并指出在这些原因的共同作用下，形成汉末"个人自我之觉醒"的美学思潮；第二，从"贵真"思想的复萌、"感伤主义"的出现及美学意识对人生各个方面的渗透几个侧面，分析了汉末美学思潮的特点：第三，探讨了《古诗十九首》与汉末美学思潮的关系。

Comtemporary anthropological aesthetics results directly from the "culturological turn" in aesthetics, and the study on anthropological aesthetics and anthropology of art by Zheng Yuanzhe who is one of its outstanding representatives.

人类学美学是近些年来在国际上兴起的新的跨学科美学研究领域，由于它在美学新的研究对象的选择、新的美学形态的建构以及在提升中国民族美学地位上的巨大潜在价值，因而也受到中国学者的重视，部分学者对此展开了详尽的研究。

The theoretical basis guiding this thesis is dialectical materialism, the thesis regards the theory of life aesthetics as the basis of research, synthesizes the relevant theories and methods of China ancient aesthetics, reception aesthetic and hermeneutic aesthetic, and researches extendedly, systematically the historical construction and the meaning in literature -art aesthetics and culture study of "aesthetic field" in aesthetic aspect and historical culture "linguistic context" vision.

本文将以辩证唯物主义为指导，以生命美学为依托，综合中国古代美学中的相关理论，并结合西方接受美学及解释学美学等诸种理论与方法，系统地从美学层面和历史文化&语境&来对&审美场&的历史建构及其在文艺美学和文化研究中的意义作延伸性研究。

We of course can't deny the significance of transcendent asthetics and consumption asthetics. Because transcendent asthetics can give some critical proposal to the negative and had phenomenons in asthetic and art under market economic condition. Consumption asthetics possibly make some contribution to the research about connection between asthetic and consumption. But we should resolve a series of asthetic problem in the development of China socialism market economic realistically, historically and scientifically (expansively speaking, it's problem confronted by world contempory asthetics, including the connection between consumption and asthetic). We can't drop in some unrealistical and unhistorical fantasy, nor confused by temporary froth and illusion.We still need rely on the development of asthetics of Marxism practicing outlook nowadays.

我们当然不可否认&超越&美学及消费美学存在与发展的意义，因为&超越&美学可能对市场经济发展中，在审美与艺术方面出现的某些消极的、坏的现象提出某种批判的见解，消费美学也可能在研究消费与美的关系上作出某种贡献，但要现实地、历史地、科学地解决中国社会主义市场经济发展中出现的一系列美学问题（扩大开来说，也是当代世界美学面临的问题，包含消费与美的关系问题），既不堕入到各种非现实、非历史的玄想中去，也不为一时的泡沫、幻象所迷惑，仍然要依靠马克思主义实践观美学在当代的发展。

Originally with unique and various esthetical implication, Prajna categories of this era rooted in Indian religion, especially Mahayana Prajna. On the process of the infiltrating in China and syncretizing with Chinese esthetics, its episteme and criterion structure were orientalized; on the other hand all these also assimilated into Chinese Esthetics, and brought profound affection.

魏晋般若范畴以印度宗教，尤其是佛教大乘般若学为文化渊源，原具有十分独特、丰富的美学蕴涵，在其入渐中土并与中国美学融合的境遇中，一方面，其原有的知识和价值结构在纳入中国美学机体时被&中国化&了；另一方面，般若原有的价值观念和思想方法，也&内化&于中国美学，给中国美学以深刻的渗透和影响。

We managed to point out the orientalized and assimilated historical process by the study of their encounter, intercourse, combination and unification.The cultural origin and esthetical significance composed the logical elements with which to recur the historical encounter of Pratipad and New Taoism, and project their respective esthetical character and inherent inconsistency. We emphasize the intercourse between Pratipad that came on to in Wei-Jin era and Buddhist and metaphysics esthetics on the basis of Pratipad category, just for the lasting appeal and predilection of the latter could set off the existent significance of Madhyamika Prajna System. Here we do a summarize intent upon illuminating no other than the intercourse with which to lead Chinese Esthetics to a bran-new world.

本文以阐发般若范畴的文化渊源、美学蕴涵为理论探讨的逻辑基础；通过历史地再现般若学与玄学两面展开的理论境遇，凸现它们各自不同的美学品格与内在矛盾；而作为两晋际兴盛起来的般若学和基于般若学范畴展开的佛玄美学对话，是本文理论探讨的重要内容，惟其佛玄美学建构的丰富韵致与理论偏颇，才映衬了中观般若体系生成的美学意义；本文以中观般若体系具有的深在美学蕴涵及其对中国美学特出的范型意义为归结，指出正是中观般若体系实现了般若美学蕴涵与中国美学蕴涵的真正交融，这种交融从体系型态上把中国美学引向了新的生成之路。

The split between the two groups can hardly be papered over.

这两个团体间的分歧难以掩饰。

This approach not only encourages a greater number of responses, but minimizes the likelihood of stale groupthink.

这种做法不仅鼓励了更多的反应，而且减少跟风的可能性。