Debate On Practical Aesthetics Of Historical Investigation And Philosophical Reflection

Marxist aesthetics is prominent in Chinese aesthetic theories in the 20th century, especially in contemporary times and the "Practical Aesthetics" is one of the most important contemporary Marxist aesthetic theories. we cannot grasp Chinese Marxist aesthetics and contemporary Chinese aesthetics unless we inquire into the integrated progress of "Practical Aesthetics" historically. Habitually the "Practical Aesthetics" is divided into two periods - old and new, while Li Zehou's theory, the mainstream of "Practical Aesthetics", is divided into two parts as well. In our opinions, these ideas lead us to the contempt of the complexity of "Practical Aesthetics", and prevent us from thoroughly understanding of contemporary Marxist aesthetics. Wherefore, we divide the process of "Practical Aesthetics" into three periods - founding, developing and perfecting periods. Inquiring into the history of "Practical Aesthetics" in an angle of argument and comparison, we expect we can promote some rational suggestions for "Practical Aesthetics" and contemporary Chinese Marxist aesthetics.The main text consists of three parts.Part one is the founding period of "Practical Aesthetics", in which we discuss the fundamental contents of "Practical Aesthetics" which Li Zehou and Zhu Guangqian founded in the "Great Aesthetic Discussion" in 1950s and 1960s. In the early time, Li Zehou believes the material labour is root of beauty and persists in the unification of objectivity and sociality in beauty, while Zhu Guangqian gives prominence to the ideology and productivity of beauty and believes in the unification of subjectivity and objectivity in beauty. They both found their theories on the Marxist practical category, but what result them in different conclusions on the essencial concept of beauty? What kind of cultural information is conveyed in these differences? We involve in a deep reflective discussion in this part. Part two is the developing period of "Practical Aesthetics", which discusses the basic contents of Li Zehou and Jiang Kongyang's "Practical Aesthetics" theories in 1980s. After his mutual interpretation of Marxism and Kantianism, on the basis of propositions as "Humanization of Nature", "New Sensibility" and "Accumulation Theory", Li Zehou founds his theory of "Subjectivity Practical Aesthetics" to promote his "Practical Aesthetics". Meanwhile Jiang Kongyang, on the premise of practical materialism, unscrambles Marx's "Economics Philosophy Manuscript in 1844" and founds his theory of "Creativity Practical Aesthetics" which sets the aesthetic relation as the center of aesthetics. The stand of this part is what are the differences and similarities of their thoughts and how we understand and evaluate them.Part three is the perfecting period of "Practical Aesthetics". In 1990s, Li Zehou amends his former thoughts to promote his "Practical Aesthetics", and probes into the propositions like "Naturalization of Man, "Pragmatic Rationality" and "Musical Sense Culture". On the same time, aiming at the shortages of "Practical Aesthetics", a vast argument between Neo-Practical Aesthetics and Post-Practical Aesthetics comes forth. How should we understand and reflect the adjustment and development of Li Zehou's thought in this period? How to understand and evaluate the argument? We give our answers in this part.