Citation:
Where Will Aesthetics Go: Thomas Munro’s Way of Cross-civilization Comparative Aesthetics[J]. Academic Monthly, 2018, 50(04) :108-117.
Where Will Aesthetics Go: Thomas Munro’s Way of Cross-civilization Comparative Aesthetics
-
Abstract
With the influence of natural science, it has been an important trend to scientize the research of aesthetics in modern Western countries. When the scientific aesthetics, represented by the Gustav Theodor Fechner’s experimental aesthetics, is in trouble, Thomas Munro keenly focuses on the emerging comparative aesthetics, he believesthat this is another feasible way which is more suitablefor the development law of aesthetic itself. This is not only a natural extension of an approach to “from below” approach of scientific aesthetics, but also the idea makes Munro become the pioneer of cross-civilization comparative aesthetics in Western countries. Munro himself does not use the formulation of “cross-civilization comparative aesthetics”, he uses the term of “comparative aesthetics”, and does not make a strict distinction between civilization and culture. The terminology of “cross-civilization comparative aesthetics” is more accurate and closer to Munro’s intention. Munro intends to break through occidental centrism, and regards the East and the West aesthetics as the core of cross-civilization comparative aesthetics.According to Munro, cross-civilization comparative aesthetics can be traced back to G. W. F. Hegel, the aestheticians of United States consciously develop the approach in 1940s. Munro reveals the basic connotation of cross-civilization comparative aesthetics, and puts forward the specific ways to find out the commonality shared by different civilizations to establish the universal aesthetic theory. After in around half a century, the cross-civilization comparative aesthetics has become an important research paradigm that has been widely accepted by the international mainstream academia
-
-
References
-
Access
-
-
[1]
Pingyuan CHEN
. Politics and Aesthetics of Voice. Academic Monthly,
2022, 54(1): 146-166.
-
[2]
Xiangzhan CHENG
. The Theory of Aesthetic Appreciation: The Unique Aesthetic Conception of Environmental Aesthetics and Its Promotion of Aesthetic Principles. Academic Monthly,
2021, 53(2): 151-159.
-
[3]
GUO Yongjian
. Two Dimensions of Aesthetic. Academic Monthly,
2023, 55(7): 142-151.
-
[4]
Jianping GAO
. The Revival of Aesthetics at the Turn of the Century. Academic Monthly,
2020, 52(6): 111-121, 134.
-
[5]
Ying XIAO
. On the Aesthetic Meanings of the Dream of Red Massions. Academic Monthly,
2020, 52(9): 131-139.
-
[6]
Yanping GAO
. Herder on Touching: Aesthetics of “Dunkelheit” (Darkness). Academic Monthly,
2018, 50(10): 130-139.
-
[7]
. . Academic Monthly,
2017, 49(12): 122-133.
-
[8]
. . Academic Monthly,
2016, 48(11): 140-149.
-
[9]
. . Academic Monthly,
2018, 50(02): 114-122.
-
[10]
,
. . Academic Monthly,
2017, 49(02): 179-184.
-
[11]
Xun DAI
. Go Wild: The History of Landscape and Its Aesthetic Expression. Academic Monthly,
2022, 54(6): 156-166.
-
[12]
WANG Zhenfu
. Logical Structure of Category System in Chinese Aesthetics. Academic Monthly,
2024, 56(1): 141-154.
-
[13]
Mingdong GU
. The Philosophical and Aesthetic Foundations of Chinese and Western Fiction. Academic Monthly,
2019, 51(11): 127-138.
-
[14]
Chunshi YANG
. On the Poetical Characteristics of Chinese Aesthetics. Academic Monthly,
2019, 51(2): 144-151.
-
[15]
. . Academic Monthly,
2017, 49(11): 99-134.
-
[16]
Zhichang PAN
. The Aesthetic Discourse of “Egoistic Thrusters”. Academic Monthly,
2021, 53(6): 195-204.
-
[17]
Xia ZHONG
. Chinese Doctrine of “Aesthetics as the First Philosophy”. Academic Monthly,
2022, 54(7): 161-170.
-
[18]
. . Academic Monthly,
2017, 49(08): 141-151.
-
[19]
Chengji LIU
. The Aesthetics of Rites-Music and Traditional China. Academic Monthly,
2021, 53(6): 171-182.
-
[20]
XU Ming
. Aesthetics and Cognitive Science. Academic Monthly,
2023, 55(8): 145-165.
-
-
沪公网安备 31010102003103号
DownLoad: