The Review And Reflection Of Aesthetic Modernity In New-term Of China

Since the late1980s, the theory of aesthetic modernity has passed nearly30years, it condensed a profound historical connotation. This paper aims to examine the background, the discussion focus, the significance and limitations of the theory of aesthetic modernity in Chinese new-term, to provide some references for the construction of aesthetic modernity.Firstly, this paper examines Chinese aesthetic modernity and western aesthetic modernity under different context. In the West, the concept of "modernity" which has modern meaning is from the Enlightenment of18th century, the paper tends to investigate modernity from the ideological and cultural aspects. Then we distinguish the difference between aesthetics modernity and aesthetic modernity, the former focuses on the field of aesthetics, while the latter focuses on reflection and critical perspective. In China, Wang Guowei, Cai Yuanpei and Liang Qichao stressed "aesthetic" from the early20th century, but after the founding of the PRC, emphasis on politics constrained the development of aesthetic modernity. Aesthetic modernity gained independent development until the new-term.The second chapter makes a comprehensive discussion of aesthetic modernity on the development of the new-term. Under the stimulation of modernization process, the influence of Western theory, and the call of aesthetic independence sense, the theory of aesthetic modernity rose in the late1980s. It experienced three stages of development, infancy again in1986-1996, high speed development in1997-2002, steady development in2003till now. The discussion focuses on the theory of aesthetic modernity are the quality of Chinese aesthetic modernity, the development pattern of aesthetic modernity, consumerism, etc.The third chapter studies the contribution of aesthetic modernity theory, which do good for the transformation of aesthetics and the theory of literature and art. Aesthetic modernity emphasizes freedom and liberation of humanity, which makes aesthetics shift from the theory of epistemology aesthetics to the theory of experience aesthetics. It emphasizes aesthetic self-discipline, which makes aesthetics shift from the political constraints to independent development. In terms of the theory of literature and art, it emphasizes "aesthetic", so that it reveals the essence of literature and art scientifically, demonstrating the value and significance of the methodology of aesthetic perspective.The fourth chapter focuses on the limitations of the theory of aesthetic modernity. On one hand, scholars over-emphasize the confrontation between aesthetic modernity and enlightenment modernity, the confrontation between perceptual and rational. Also, the single aesthetic perspective limits the integrity and framework of literary studies. On the other hand, because of introducing from the western countries, Chinese aesthetic modernity appears to lack of awareness of context and problem in the localization process. This paper suggested that we should construct a comprehensive aesthetic modernity and a mild aesthetic modernity, which absorbing the reasonable connotation from China and the west, abandoning the instrumental rationality and avoiding falling into Ringism and Decadence.