Journal of Jishou University(Social Sciences Edition)

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On the Aesthetic Function of Chinese Aesthetics

YANG Chunshi

Journal of Jishou University（Social Sciences） DOI: 10.13438/j.cnki.jdxb.2017.05.009

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The Real Existential Consciousness of Chinese Aesthetics and Its Spirit of Freedom

LI Tiandao,TANG Junhong

Journal of Jishou University（Social Sciences） DOI: 10.13438/j.cnki.jdxb.2017.05.010

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Natural Aesthetic Consciousness in Neo-Confucianism Poetic School

LI Tian-Dao, LONG You-Jia

Journal of Jishou University（Social Sciences） 2015, 36 (5): 16-21. DOI: 10.13438/j.cnki.jdxb.2015.05.003

Abstract （2088）

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Neo-Confucianism Poetic School during the two Song Dynasties regards “Li” (meaning law of nature) as the origin of all things.“Li” is also called heavenly principle，thus man and nature are interdependent.Being the foundation of the integration of man and nature，“Li” dominates the ideological trend of that time，and writings are emphasized to convey truth.At the same time，based on the Confucianism idea that a man should possess moral value (emphasizing the combination of man’s nature and moral rule)，and also influenced by Zhangzai and Zhuxi’s theories (emphasizing dharma and intellectuality and the combination of sensibility and rationality)，Neo-Confucianism Poetic School praises highly self-satisfaction and being original on the one hand，and on the other hand it also presents a natural aesthetic consciousness.

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“Fantastic Skill without Skill”：on the Paradox of Zhuangzi’s Skill Aesthetics

CHEN Huo-Qing

Journal of Jishou University（Social Sciences） 2015, 36 (5): 22-27. DOI: 10.13438/j.cnki.jdxb.2015.05.004

Abstract （2255）

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Zhuangzi replaces skill with fantastic skill which conforms to Dao (meaning that everything in the world exists and develops in a natural way)，thus fantastic skill，seemingly a kind of skill，has no definitive property of skill in essence.While skill has certain purpose，fantastic skill is to do things freely in a natural way；skill is a kind of creation which damages the original nature，but fantastic skill remains it.Fantastic skill is not realistic skill or its analogy，but the naturalized or idealized imagination，being mysterious.The logic result of fantastic skill is to cancel and deny realistic skill，hence the paradoxical sayings of“painting without painting” and “fishing without fish”.After later theoretical transformation，the unity of fantastic skill and realistic skill is achieved，and then appears the idea of “rule without rule” in artistic creation.

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Analysis on the System of Social Beauty：Part II ofthe Series Research of Realistic Beauty

QI Zhi-Xiang

Journal of Jishou University（Social Sciences） 2015, 36 (2): 14-20. DOI: 10.13438/j.cnki.jdxb.2015.02.003

Abstract （2540）

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Realisticbeauty includes natural beauty and social beauty.Social beauty refers to the beauty created through material social practice and other social activities,which presents the beauty of fruit of labor,mind and body,and life environment,each having different forms of beauty.Now the argument of “aesthetic everyday life” has switched from abroad to home,showing its own logic and gains and losses,deserving our summary and reflection.

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On the Leisure Interest of Literati’s Life Aesthetics in Late Ming Dynasty

ZENG Ting-Ting

Journal of Jishou University（Social Sciences） 2015, 36 (2): 21-26. DOI: 10.13438/j.cnki.jdxb.2015.02.004

Abstract （2110）

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“Interest” is an important life aesthetic conception in late Ming dynasty.“Leisure” and “interest” are closely interwoven.The change of literati’s “body leisure” makes “interest” link with sensibility life in late Ming dynasty.It forms an individual interest which integrates into desire,emotion and morality.Literati’s “leisure interest” of life aesthetics is not only to prefer worldly pleasure and indulge themselves as much as they can,but also to free from vulgarity and to seek a peaceful mind.The two aspects are interpenetrative,which presents both elegance and vulgarity of aesthetic interest in the late Ming dynasty.And the essence of two interests points to “ truth”,being loyal to the true feeling of body and emotion,which is a revolution of traditional aesthetic conception for late Ming dynasty literati.It also reflects literati’s addiction and introspection inthe abundant material and cultural life.

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Aesthetic Appeal of Authentic Existence of Confucian Aesthetics

LI Tian-Dao

Journal of Jishou University（Social Sciences） 2014, 35 (6): 21-26. DOI: 10.13438/j.cnki.jdxb.2014.06.004

Abstract （1340）

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Confucian aesthetics attaches much importance to human existence,and regards authentic existence here and now as the greatest aesthetic appeal and realm.According to Confucian aesthetics,the realm of benevolence is an authentic state of existence.Cherishing life and esteeming authentic existence,Confucian aesthetics emphasizes developing individual’s life consciousness.The process of reaching the realm of aesthetic benevolence actually is one to reveal authentic existence.

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On the Aesthetic Connotations of Realm Proposed by Hua Yanzong School

TANG Ling-Yun

Journal of Jishou University（Social Sciences） 2014, 35 (6): 27-33. DOI: 10.13438/j.cnki.jdxb.2014.06.005

Abstract （1453）

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Realm is a significant aesthetic concept proposed byHua Yanzong School in the Tang Dynasty.Based on it,Hua Yanzong School gradually formed its systematic theory on aesthetic realm.This paper mainly discusses the three aesthetic connotations of realm:(1) the interchangeability between the true and the conventional.The true may be turned into the false,and vice versa;(2) the integrated harmony without obstacles.Realms are harmoniously integrated without obstacles;(3) endlessness and boundlessness.Realms are boundless and endless in time and space.

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Prehistorical “Civilization” and Chinese Aesthetic Tradition

CHEN Wang-Heng

Journal of Jishou University（Social Sciences） 2013, 34 (6): 1-7. DOI: 10.3969/j.issn.1007-4074.2013.06.001

Abstract （1533）

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Prehistorical time also saw beauty before the real civilization occurred. Abundant archaeological materials have proved that many aesthetic traditions in China are originated from prehistorical time.These aesthetic traditions are shown in several aspects：unity of man and nature，integrity of historical evidence and divination，harmony between Yin and Yang，harmony between rite and music，and combination of meaning and form.

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Morality-oriented and Diction-balanced：An Overall View on Zhu Xi’s Aesthetic Idea

QI Zhi-Xiang

Journal of Jishou University（Social Sciences） 2013, 34 (6): 8-13. DOI: 10.3969/j.issn.1007-4074.2013.06.002

Abstract （1540）

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Zhu Xi is a great scholar of Neo-Confucianism in the Song Dynasty，who plays an important role both in Chinese ideological history and aesthetics of literature and art.His aesthetic idea is strongly based on morality，denying the independent status of literature.However，he does not completely deny the form beauty of diction.Emphasizing the beauty of morality，he explores into Fu，Bi，and Xing (techniques of poetic expression) and the aesthetic approaches，reflecting a kind of flexible aesthetic idea.

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On the True Meaning of “Beauty Is Life” and the Criticism of Spiritual Phenomenon in a Materialistic Age

LI Yong-Yin

Journal of Jishou University（Social Sciences） 2013, 34 (5): 64-70. DOI: 10.3969/j.issn.1007-4074.2013.05.009

Abstract （1695）

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There is a pretty strong polarity of views as to the aesthetic idea that “beauty is life” nowadays.The over-materialistic aesthetic interpretation has prevented us from imagining free life.According to Marxist idea,since beauty is life,people should be fully developed,and only those all-round people can create really beautiful life.

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The Ontology Turn and Expansion of Aesthetic Connotation in Early Folk Taoism Aesthetics——Compilation and Study of the Unearthed Portraits and Inscriptions about Immortals Stories in the Han Dynasty

LIU Ke

Journal of Jishou University（Social Sciences） 2013, 34 (5): 71-79. DOI: 10.3969/j.issn.1007-4074.2013.05.010

Abstract （1817）

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The early folk Taoism worships aesthetics,and being immortal is an important resource in ancient China’s life aesthetics and body aesthetics.And the early folk Taoism also cherishes pleasant life and peaceful and harmonious environment,extending the value of body and significance of life.Freedom and pleasure represent the aesthetic idea of the early Taoism way of life,and the portraits in the Han Dynasty have shown the life attitude to transcend time and space to obtain eternal happiness.The description of peaceful and harmonious paradise presented in the Han portraits has transcended the traditional form aesthetics and epistemological aesthetics,and has brought about new thought and new space in interpreting life culture.

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Practical Turn and Aesthetic Logics

ZHANG Yu-Neng

Journal of Jishou University（Social Sciences） 2013, 34 (1): 14-19. DOI: 10.3969/j.issn.1007-4074.2013.01.003

Abstract （1647）

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As humanities,aesthetic logical starting point is human social practice,and human existence is the only aesthetics intention.Corresponding to matter exchanging level,consciousness effecting level and value evaluating level of practical structure,aesthetic logical structure should include natural object logic that is logic of conforming to law;human subject logic that is logic of conforming to purpose;logic of relation between subject and object that is logic of aesthetic inter-subject.Base on matter production,spiritual production and discourse production of practical type,aesthetic logic constitution should include image logic that is perceptual form logic;imagery logic that understands form logic;image logic that is reason form logic.Corresponding to practical mutual integration course of passive and initiative,matter and spirit,synchronic and diachronic,aesthetic logic course should include intentionality activity logic that is objectification logic;transcendence activity logic that is signifying logic;time and space activity logic that is actualization logic.Aesthetic logical power just lies in the realization of practical constructive function,transforming function and deconstructive function in aesthetic practice and artistic practice.

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Qi:the Vigor Element in Chinese Aesthetics

LI Tian-Dao

Journal of Jishou University（Social Sciences） 2013, 34 (1): 20-26. DOI: 10.3969/j.issn.1007-4074.2013.01.004

Abstract （1557）

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Influenced by the mysterious culture of the ancient book Zhouyi,“qi” is thought as the primary existence and the highest ontology,everything in universe being the product of it.Borrowed from this saying,Chinese aesthetics holds that the movement of “yin” and “yang”,which forms “qi”,motivates all things on earth,thus inspires the writers and leads to their aesthetic creation.In this sense,“qi” is the primary force to move the writers to create aesthetically.

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Deep-going Aesthetic Psychology and Art Nature:“Practical and Spiritual Mastering Way”

ZHANG Yu-Neng

Journal of Jishou University（Social Sciences） 2012, 33 (4): 58-62. DOI: 10.3969/j.issn.1007-4074.2012.04.012

Abstract （2123）

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Deep-going aesthetic psychology has deep effects on the realization of art nature.Aesthetic unconsciousness and aesthetic sub-consciousness that formed in the course of long-term social practice have made human gradually understand:the aesthetic ideology property of art,the “practical-spiritual grasping way” of art,the production property of art,and the real reflection property of art.These all have obtained reflection actually in Marxist aesthetic thoughts.

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The Creation of Brightness:The Aesthetic Origin of Miao Minority

ZHOU Jiang

Journal of Jishou University（Social Sciences） 2012, 33 (4): 63-66. DOI: 10.3969/j.issn.1007-4074.2012.04.013

Abstract （2046）

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To the ancestors of Miao Minority,beauty means brightness,which is embodied in two important factors of aesthetic origin:metallurgy and brightness.Metallurgy-based labour creates the form of brightness and aesthetics comes out of the activity of metallurgy as the creation of and affection for brightness.On the other hand,brightness is the base of aesthetic activities,because aesthetics entails brightness for brightness not only gives the possibility for sense organs to appreciate beauty,but also reveals the form and characteristics of beauty.The Miao people can not enjoy a dazzling lifestyle without a bright living environment and the brightness of life is the origin of beauty.Fundamentally speaking,beauty is an expression of the living status featuring brightness of Miao ancestors.

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Research on the Contrast of Language Views between Western Analytical Aesthetics and Traditional Chinese Aesthetics

FU Xiao-Fan, LAN Hao

Journal of Jishou University（Social Sciences） 2012, 33 (2): 23-27. DOI: 10.3969/j.issn.1007-4074.2012.02.005

Abstract （2214）

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Taking language analysis method in analytical philosophy,western analytical aesthetics tries to solve aesthetic problems in a language way,and art is defined as the core problem in analytical aesthetics.Traditional Chinese aesthetics puts high value on witty remarks and emphasizes on mental experience beyond language.According to Feng Youlan,the contrast between western analytical aesthetics and traditional Chinese aesthetics lies in the way of aesthetic thinking,the former being positive and the latter being negative,and each has unique features.

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The Paradox of Aesthetic Generalization Theory and Some Practical Issues in the Research of Literary Aesthetic Theory

ZHOU Qiang

Journal of Jishou University（Social Sciences） 2012, 33 (2): 28-32. DOI: 10.3969/j.issn.1007-4074.2012.02.006

Abstract （2314）

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Currently aesthetic generalization theory is a hot issue in literature science.On the one hand,the original relations between literary aestheticism and the aesthetic of daily life have been discussed,and the latter is incorporated into the literature and art scope.On the other hand,scholars hold that there is a demand to transform the study of literature science into the cultural study,for it has its difficulties in coping with the aesthetic of daily life.However,such theoretical logic has obvious contradiction and exposes some prominent problems in the study of literary theory currently,such as the uncertainty of aesthetic connotation and the prevalence of aesthetic essentialism,which should be reviewed and taken into consideration seriously.

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From Translation to Local Construction——The Prevalence of Reception Aesthetics in Mainland

WANG Wei

Journal of Jishou University（Social Sciences） 2012, 33 (2): 33-40. DOI: 10.3969/j.issn.1007-4074.2012.02.007

Abstract （2831）

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The communication of reception aesthetics in China has undergone a process from translation and introduction to local construction connecting with traditional poetic recourse.However,in Chinese intellectual circles,more attention is given to critical practice and previous academic achievement,and less is given to theoretical research and revision,lacking the essential and positive description of inter-subjectivity.The absorption of the inter-subjectivity will promote the transformation of inter-subjectivity in modern Chinese aesthetics.

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On Shen Congwen’s Anthropological Creation in His Early Days of Creation

HE Xiao-Ping

Journal of Jishou University（Social Sciences） 2012, 33 (1): 46-50. DOI: 10.3969/j.issn.1007-4074.2012.01.009

Abstract （2849）

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Shen Congwen applied aesthetic methods to describe the theme of the western area of hunan in Shen Congwen’s early days of creation.As a result,Shen Congwen had preserved a cultural space which differenced from modern culture.Shen congwen had regarded western culture of Hunan as a mirror to rethink modern civilization,so anthropological poetics became a basic feature of the literature works of Shen Congwen,and his literature works also posed a kind of distinct primitivism.Shen Congwen regarded the western culture of Hunan as resource to realize national rejuvenation,creating a utopia world,which is why Shen Congwen’s thought of artistic aesthetics could stand out in modern literature.But his anthropological poetics met with inevitable defeat because of his lack of historical reason.We can adopt the cultural anthropological theories and methods to study Shen Congwen’s concrete anthropological literary works.Only by utilizing the anthropological theories and methods can we possess a macroscopic and whole horizon in the domain of Shen Congwen’s literary research,which is the only way out of this predicament.

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Interpretations to “Qing-jing” Thought of Taoist Aesthetics

LI Tian-Dao

Journal of Jishou University（Social Sciences） 2012, 33 (1): 51-55. DOI: 10.3969/j.issn.1007-4074.2012.01.010

Abstract （2839）

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From the perspective of life aesthetics,“Qing” refers to a kind of aesthetic composing domain and its constituting model.Take Zhuangzi,one of the greatest ancient Chinese philosophers,as an example,he advocated discarding all desires and worries from one’s mind,his aesthetic psychology,method and appeal were theoretically based on “Qing”.As an important constituent in Taoist Aesthetics,the aesthetic consciousness of “Qing” had great influence on the life idea and aesthetic appeal of ancient Chinese scholars.

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Aesthetic Education Replacing Religion”:Dual Aims of AestheticFaith Value Constructed by Cai Yuanpei

PAN Li-Yong

Journal of Jishou University（Social Sciences） 2012, 33 (1): 56-60. DOI: 10.3969/j.issn.1007-4074.2012.01.011

Abstract （3909）

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Cai Yuan-pei came up with the theory of “Aesthetic Education Replacing Religion” in order to carry out a faith reconstruction project in the modern Chinese cultural context where the Li-Yue system of Confucianism had collapsed and also be lack of religious spirit.The specific characteristic of aesthetic spirit in the aesthetic education and the social-political environment of modern China determined the dual value nature in the faith construction logic of theory of ‘Aesthetic Education Replacing Religion’,which embodied in the following two groups paradox:secularity and transcendence,individuality and sociality.The paradoxical dual nature of faith value reflected the intellectuals’ mental state caused by cultural modernity in the course of faith reconstruction.

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To Look Up To Divine Beauty：The Fundamental Spirits of Plato’s Aesthetic Theory

ZHOU Jiang

Journal of Jishou University（Social Sciences） 2011, 32 (5): 49-52.

Abstract （2331）

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The basic philosophical spirits of Plato’s aesthetic theory has always been debated by scholars.Although his theory expressed the conflict of the inner part of the soul,the philosophical spirits of “reason-divinity” was still predominant,which was strongly obvious in “the theory of memory” and “the theory of ladder”.“The theory of memory” expounded on how the reason conquered desire through a metaphor about the horse-drawn carriage of soul;while “the theory of ladder” explained how soul pursued the form of beauty by peeling off the sensible perceptions.Therefore,Plato’s aesthetic thought expressed a spirit of “reason-divinity” that led Plato’s aesthetic thoughts to staring at the permanent truth and looking up to divine beauty through the conflicts between feelings,desire and reason-divinity.

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The Awakening of Western Humanism Aesthetics——The Evolution and Characteristics of the Category of Ancient Greece Aesthetics

HUANG Da-Jun

Journal of Jishou University（Social Sciences） 2011, 32 (5): 53-57.

Abstract （2187）

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The aesthetics of Ancient Greece has a history of about 200 years.It was a glorious headstream for the European and the world aesthetics.Overall,its development ran through two main lines of the objectivism and humanism.Objectivism is a kind of fundamental methodology.But in the historical evolution of obeying the natural rule,the absolute spirit of objectivism has been subjected to erosion and disintegration by humanistic ideology.This complex process of subject awakening had undergone three dialectical phases:early,transitional,and mature phase.The great contribution is that the ancient Greece aesthetics launched the exploration target of European aesthetics during 2000 years.Moreover,it had been a great thinking model and prototype theory in the history of Eastern and Western aesthetics.

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Deep Reflection on “the End of Art” and “Aesthetic Life”

JIANG Yu, ZHANG Rui-Li

Journal of Jishou University（Social Sciences） 2011, 32 (5): 58-61.

Abstract （1871）

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There is an inner theoretical continuity between the End of Art and Aesthetic Life,for they both are built on a spiritual attitude toward life,adopting Hegel’s philosophy as the theoretical headstream.It aims at a deep reflection on the concept of life,a good command of its philosophical connotation,an end to the End of Art and prerequisites for further development of aesthetic life.

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The Ugly Monster Each of Which is Beautiful——Comparison of Chinese and Western Concept of “Ugliness” in Ancient Aesthetic

MO Xiao-Hong

Journal of Jishou University（Social Sciences） 2011, 32 (5): 62-65.

Abstract （2374）

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There are evident differences between Chinese and western appreciation of “ugliness”,which can also be perceived through people’s behavior.Chinese emphasize the negotiation and assimilation between opposites;therefore they can accept and absorb “ugliness” with an open mind.While in western culture,people advocate beauty and stress the opposition and conflicts between beauty and ugliness,so any ugly things is always repellent.China had been influenced by Confucianism,so Chinese recognition/understanding of “ugliness” is partial to moral aspect.By contrast,the west culture is drenched by the philosophy of “division between object and subject”,thus their understanding of “ugliness” favors the form of it.During the creation of art,Chinese take ugliness as a kind of beauty,while westerners tend to turn ugliness to beauty.

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Subjectivity of ImageIdeas of Classical Aesthetics of China

YANG Chun-Shi, YANG Chen

Journal of Jishou University（Social Sciences） 2011, 32 (4): 21-25.

Abstract （2684）

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Compared to the intersubjectivity of modern aesthetics,the intersubjectivity of classical aesthetics of China is pre-intersubjectivity,in which the subject and the object have not fully separated,and the subject hasn’t gained its independent position.The image ideas of China’s aesthetics are the typical embodiment of this classical intersubjectivity.The formation of image ideas has experienced the combination of image and representation,which reflects the philosophical state of the oneness of the heaven and the human beings.Generated by aesthetics,image can break through the restraints of material selfness and spiritual selfness,and reach the aesthetic state of intersubjectivity.

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Natural Aesthetics in Ancient China

CHEN Wang-Heng

Journal of Jishou University（Social Sciences） 2011, 32 (4): 26-29.

Abstract （2565）

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The natural Aesthetics of ancient China with the written records can be traced back Three thousand years ago.It is the literature work called "the Book of Songs".Since then,different theoretical views emerged in large numbers,such as Confucius’ view of ambition sustenance;Confucius and Qu Yuan’s view of moral metaphor;Qu Yuan’s view of emotional sustenance;Tao Yuanming and Zong Bang’s view of apperception of Taoism and Zong Bing and Wang Wei’s view of free imagination.There are two of the most important persons:the first one is Liu Zongyuan of Tang Dynasty.He remarked that "the beauty does not spring from itself,but it depends on somebody who sees it." The second one is named Sushi.He proposed the point of being together with the natural landscape in spirit of life.

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Daily Life-oriented Aesthetic Ideology

SU Shi-Lai, TIAN Ni

Journal of Jishou University（Social Sciences） 2011, 32 (4): 30-33.

Abstract （2364）

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Aesthetics and ideology is closely related.On the one hand,aesthetics is one of the forms of ideology; on the other hand,ideology has been frequently reflected by means of aesthetics.As one form of ideology,aesthetic ideology is neither false ideology nor false reproduction of reality,and it provides no Utopia escaping from reality.Aesthetic ideology reproduces real social relationship which supports our illusion construction of "reality".It moulds,organizes,widens and dominates our daily existences,and it is the inescapable social reality and social existence.

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On Sensus Communis between Intersubjectivity and Authentic Value

LI Yong-Yin

Journal of Jishou University（Social Sciences） 2011, 32 (1): 21-26.

Abstract （1873）

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The development from subjectivity to intersubjectivity is an inevitable result of people’s requirement for value communications and exchanges.From phenomenology,the communications between subjects is based on experience.The sensus communis of authentic value experience derives from the basic pursuit for universal values of life community or culture community.In authentic activities,the universal values such as freedom,equality and justice achieve authentic sensus communis through vivid transfer phenomenologyphenomenology.

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Ideology,Culture and Cognitive Logic of Chinese Aesthetics History Research——Reflections and Summarizations of 30 Years’ Chinese Aesthetics History Research

ZHAO Jian-Jun

Journal of Jishou University（Social Sciences） 2011, 32 (1): 27-31.

Abstract （1642）

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The merits and demerits of Chinese aesthetics research history can be found from its cognitive logic.The research in the past 30 years shows that,the ideological cognitive mode in the 1980s and 90s once laid a high academic foundation for Chinese aesthetics research.As the development of the research,this cognitive logic gradually shows its defects of single approach.After 2000,cultural cognitive logic has become a brand new approach to Chinese aesthetics research.With its plural perspectives,profound ideas and metaphor system,this approach has indicated the academic nature of “talking about ourselves” in the future of Chinese aesthetics research,and forecasted a bright prospects for the exchange of cultural interpretations with international aesthetics in deep level.

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On Social Beauty and Its Post-modern Turn

ZHANG Zhong

Journal of Jishou University（Social Sciences） 2010, 31 (5): 16-21.

Abstract （2207）

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As one state of the beauties and “specialty product”as Chinese aesthetics,social beauty once triggered intense discussion,study and publicity.It has come to its stagnation after the development of half a century.However,in the new century,western aesthetics began to pay attention to life,society and nature,and began to screed the boundaries of life,arts,society and nature,and put forward the ideas of “aestheticization of everyday life”,“positive aesthetics” and “landscape aesthetics”,which share the same appeals of the times and aesthetic position with modern China’s social beauty.Meanwhile,as the development of post-modernism and the affect of post-modern aesthetics,social beauty has developed to a new constructive state,which advocates a free,pluralistic and harmonious aesthetic concept,that is,a ecological aesthetics in a broad sense.

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Aesthetic Modernity and Ideological Criticism of Consumerism

SU Shi-Lai

Journal of Jishou University（Social Sciences） 2010, 31 (5): 22-28.

Abstract （2337）

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Consumerism culture is the main cultural reproduction model during the modernity process. With disguise of globalization, this culture has been pushing and promoting the aesthetics to the colonization of everyday life, promoting the process of aestheticization of everyday life. Aesthetic modernity is reflective and Critical dimension of modernity, we should reflect and Critique of the ideology of everyday life covered by consumption and aesthetics, expose the falsehood of social life as an ideology, and reveal aesthetic mirage and consumption politics manifested in the daily life of the consumption age.

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On the Strategy in Building a Well-off Society in an All-round Way in the Rural Ethnic Wuling Mountain Areas

LV Xue-Fang

Journal of Jishou University（Social Sciences） 2010, 31 (5): 70-74.

Abstract （1777）

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Due to different economic foundation,well-off condition and humanity quality in different areas,multiple strategies should be adopted in building a well-off society in an all-round way.This paper,analyzing the stage and weak economic foundation,discusses three strategies in building a well-off society in an all-round way in the rural ethnic Wuling Mountain areas.

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On Relationship between Phenomenology Intelligibility and Chinese Aesthetic Origination Theory

LI Tian-Dao

Journal of Jishou University（Social Sciences） 2010, 31 (4): 16-19.

Abstract （2133）

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From the perspective of the Chinese aesthetic origination theory,the purpose of aesthetic activity is to clear one’s mind and make one’s heart peaceful through the compliance with the nature,freedom and intuitive feeling,namely origination means.This theory calls for a consecutive process of “oneself”,“self-examination”,“simplicity”,“restoration” and “most free and abundant deep-going self” to achieve a state of plentiful energy,peaceful mind,unworldly spirit and understand the real aesthetic field,in which one can experience oneself and realize himself.In this way,the Chinese aesthetic origination theory can be featured with some characteristics of phenomenology intelligibility gradually,which vividly reflects the nature compliance spirit of Chinese aesthetics.

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Relationship between Deep-going Aesthetic Psychology and Related Disciplines

ZHANG Yu-Neng

Journal of Jishou University（Social Sciences） 2010, 31 (4): 57-63.

Abstract （1851）

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Deep-going aesthetic psychology and many related humanities disciplines are closely related and affect each other.Deep-going aesthetic psychology and religion are related closely.Deep-going aesthetic psychology of primitive men and their religious consciousness merged into an organic whole,and primitive religious consciousness infiltrates into deep-going aesthetic psychology and then became sediments of collective unconsciousness.Deep-going aesthetic psychology and philosophy have close contacts.Philosophical thoughts restrict deep-going aesthetic psychology and make it thoroughly develop continuously in the respects such as ontology,epistemology,methodology,axiology etc.Deep-going aesthetic psychology and poetics are interlinked.Development of poetics and revealing of deep-going aesthetic psychology each shines more brilliantly in the other’s company.The thorough development of deep-going aesthetic psychology makes poetics develop from rationalism to irrationalism and they absorb essence from each other.The development of poetics makes deep-going aesthetic psychology develop increasingly and become a mature discipline.The development of deep-going aesthetic psychology cannot do without knowledge accumulation and development of other many humanities disciplines and social sciences.

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An Interpretation for “Pondering over Aesthetic Objects and Catching their Basic Truths” in Jing Hao’s Bi Fa-Ji

TANG Ling-Yun

Journal of Jishou University（Social Sciences） 2010, 31 (4): 64-67.

Abstract （5624）

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“Pondering over aesthetic objects and catching their basic truths” is the most valuable aesthetic proposition in Jing Hao’s Proposition.“Pondering over”(度)is one kind of immediate,complete and intuitive contemplation,and “catching”（取）does not imply to gain by artificial means but to accept things naturally,a whole integration of person’s mind and the aesthetic objects.This proposition is a kind of cognitive structure about whatever one touches it should be true,and a thing means a thing in itself at the same time.This proposition does not ask for truths transcending over physical objects,but instead that art’s value lies in their inner lives and in their unique beings.The perfect state of artistic creation is to let the meaning and value of the object being presented freely.

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On the Relationship of Practice Ontology and Beauty and Aesthetics

ZHANG Yu-Neng

Journal of Jishou University（Social Sciences） 2010, 31 (1): 84-90.

Abstract （1800）

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Taking nature ontology as its promise,practice ontology is a social ontology which illustrates that human beings,their social existence as well as the ways of social existence is the ontology of social practice.Practice aesthetics,based on practice ontology,is aesthetics of higher stage.Practice is a philosophical category of relationship.It has surpassed traditional philosophy and the metaphysics in aesthetics and cleared up the dual conflicting thinking mode between subject and object,exploring the existence of beauty and the way of it in the relationship between subject and object,between subjects and objects as well,making aesthetics a science of human beings to appreciate beauty.Therefore,beauty and the appreciation of beauty is the relationship property,value property,and free creation grown up in social practice.The relationship of practice is also its inter-relationship,covering the inter-relationship between subject and object,the inter-relationship between subjects,and the inter-relationship between objects.They develop into the beauty of nature,the beauty of society,the beauty of art and the appreciation of them.

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On the Historical Context of Practice Ontology Aesthetics

SHI Chang-Ping

Journal of Jishou University（Social Sciences） 2010, 31 (1): 91-95.

Abstract （1810）

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Practice ontology aesthetics is Liu Jigang’s important contribution of Marxism aesthetics to the localization of China.This ideological system has specific historical contexts:the foreign historical context was mainly presented in the inspection and criticism to Gramsci’s practice monism,Lukacs’ social ontology and Yugoslavia’s practice school,while at home it was presented in the influence by Zhu Guangqian,Li Zehou and other aestheticians and philosophers.The continuous arguments and discussions also created theoretical environment for the construction of practice ontology aesthetics.

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On the Transcendence of the New Practice Aesthetics over the Traditional Theory of Aesthetic Feelings

HUANG Jian-Yun

Journal of Jishou University（Social Sciences） 2010, 31 (1): 96-99.

Abstract （1755）

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In research of contemporary aesthetic feeling theory,the new practice aesthetics on behalf of China's aesthetics research transcends over the traditional aesthetic theory in the following aspects:firstly,in terms of research ideas,the single-dimension shortcomings of reflect aesthetics' cycle of argument and old practical aesthetics' limitation of aesthetic feelings coming from material production are overcome;secondly,in terms of understanding of practice's relationship with aesthetic feelings,it is emphasized that only the freely creative practice is the source of aesthetic feelings;thirdly,in the process of transformation from practice to aesthetic feelings,the intermediary role of aesthetic image is affirmed;fourthly,in terms of subject feelings,aesthetic feelings is affirmed as valuable sense of satisfaction,sense of pleasure,sense of harmony,and sense of freedom.

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