(This book is supported by the Research and Publishing Fund of China Academy of Social Sciences.)

Preface Nie Zhenbin.

Guiding theory

First, the origin: the enlightenment fission of "modernity"

Second, the aesthetic spirit as a symbol of "should be so" life.

Third, the triple obstacles of argument.

Fourth, methodology: "critical hermeneutics"

Chapter one: Reflection on art's theory of denying life.

1. Why does art deny life?

Second, why did the "aesthetic utopia" decline?

Third, theoretical dilemma: artistic self-discipline and subjective aesthetics

Fourth, historical circumstances: artistic life and artistic life.

The second chapter is a summary of contemporary aesthetics: the aesthetic characteristics of "postmodernism"

First, the "super-aesthetic" turn of contemporary culture: "aestheticization of daily life"

Second, the "anti-aesthetic" orientation of avant-garde art: "aesthetic daily life"

Third, pan-aesthetic modernity, critical enlightenment modernity and comprehensive modernity.

(A) Reflection on Modernity Ⅰ: From Baudelaire, Zimmer to Foucault

(2) Reflection on Modernity Ⅱ: From Weber and Adorno to Habermas.

(C) The third reflection on modernity: between "aesthetic criticism" and "critical enlightenment"

Fourthly, postmodernism is deeply rooted in "pan-aesthetic modernity"

The third chapter returns to the "life world": the flip of thinking paradigm.

1. Addition and subtraction: two negative life histories

Second, back to the origin of Marx: the modern basis of "life practice"

Thirdly, "modern aesthetics" moves towards the basic direction of life.

(A) Heidegger: art as "the truth of existence".

Wittgenstein: Art as a "Life Form"

Dewey: Art as a "Complete Experience"

Conclusion: How is it possible for aesthetics to return to life?

The fourth chapter constructs the phenomenology of "life aesthetics"

1. "Beauty is life": a new interpretation of an ancient proposition

Second, the activities of beauty: between daily life and non-daily life

Third, the source and presentation: beauty and the daily continuation of life

(A) from intuition to "essential intuition"

(B) from no topic to "self-awareness"

(c) From diachronic to "contemporary"

Fourth, internal transcendence: the non-daily tension between beauty and life.

(A) the connection between ideal and reality

(B) the combination of possibility and reality

Fifth, return to "essential intuition": the activity of beauty is the original state of "real life"

Sixth, the "postmortem hypothesis": the "pragmatic" dimension of beauty's daily life.

Seven. Conclusion: Dialectics of dialogue between beauty and life.

The fifth chapter is the meaning of "real life" of beauty.

First, the theory of truth correspondence and its rejection of beauty.

Secondly, there are several "truth views of beauty": Nietzsche, Heidegger and Gadamer.

"Look at the truth through the eyes of an artist"

(b) "Beauty is the origin and occurrence of truth"

(C) the audience to participate in the expansion of the existence of art ontology

Thirdly, the mutual expansion of beauty and truth and its fuzziness

Fourth, the truth of beauty: the unity of "* * * perception" and "hermeneutics"

(A) the enlightenment of "the view of truth * * *": moving towards "the truth of knowledge"

(B)' Modern Hermeneutics' Enlightenment: Towards' Diachronic' Truth

(C) "perception" and "hermeneutics": towards the unity of "life"

Verb (abbreviation of verb) Conclusion: Beauty is an intuitive expression of "the truth of life"

Chapter six: the beauty dimension of "bioethics"

First, the concept of "ethical freedom" and its affinity with beauty.

Second, several "ethical aesthetics": Kant Wittgenstein Foucault

(A) "Beauty is a symbol of moral goodness"

(b) "Ethics and aesthetics are the same thing."

(3) "aesthetics of existence": life is sublimated into personalized art.

Thirdly, aesthetic ethics: moving towards a concrete view of freedom.

Fourthly, from "aesthetic synaesthesia" to "emotional syncope"

Verb (abbreviation of verb) Conclusion: Aesthetics is the future research of bioethics.

Reconstruction of "Modern Aesthetic Spirit" in the Conclusion

appendix

On the Implication of Habermas's "Life World"

Wan Muchun before the Sick Tree —— Comment on The End of Art and The End of Art History

From "Moral Beauty" to "Ethics" in Aesthetic Education —— Schiller's Classical View of "Beauty and Goodness" and Its Enlightenment

Between Intertextuality and Intersubjectivity —— Compound Intertextuality in Literary Activities