Abstract

“Posthumanism” is seen as both coming “before” and “after” humanism. Therefore it poses a challenge to not only Chinese Confucianism but also Chinese contemporary art. Since China’s original school of Confucian thought features elaborations on the relationship between nature and nurture, the inspiration to draw from it for the contemporary era calls for greater integration and exchange between naturalism and humanism - as naturalism, when accomplished thoroughly, is equivalent to humanism, and vice versa. Meanwhile, “Continuum-Generation by Generation”, the exhibition of the Chinese Pavilion at the 57th Venice Biennale will be used as an example to elucidate the unique state of posthumanism in China.

 

Bio

Liu Yuedi is Professor at the Institute of Philosophy of Chinese Academy of Social Sciences, Delegate at large of International Association for Aesthetics 2010-13, Assistant Secretary-General of Chinese Society for Aesthetics 2003 till now and Executive Main-Editor of The Journal of Aesthetics. His recent books include Contemporary Studies of Chinese Aesthetics (2011), Aesthetics in Everyday life (2011), The History of Analytic Aesthetics (2009), Living Aesthetics and Art Experience (2007), The History of Visual Aesthetics (2008), After the End of Art: An Aesthetic Rethinking of Art’s Duration (2006), Performing Life Aesthetics: Critical Modernity and Reconstruction of Aesthetics (2005). He is co-editor with Mary B. Wiseman of Subversive Strategies in Contemporary Chinese Art (Brill, 2011), with Curtis L. Carter of Aesthetics of Everyday Life: East and West (Cambridge Scholars Publishing, 2014), editor of Interviews with International Aestheticians (2010), Cultural Hegemony (2005) and translator of Art and Its Objects  (2011) and Environment and the Arts (2007). He won The Second National Original Publication of Creative Book Award (China, 2008).

 

 

 

刘悦笛：后人文主义与中国境况

 

摘要：​

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“后人文主义”被看做既在人文主义“之前”, 又在人文主义“之后”。

这就不仅对中国儒家思想而且对当代中国艺术提出了挑战。中国原典儒家既要在自然与培育之间做文章,那么,它对当代的启示价值也在于——要在自然主义与人文主义之间加以融通与交流, 这就是作为完成了的自然主义，等于人文主义，而作为完成了的人文主义,等于自然主义。同时,以威尼斯双年展2017的中国馆 “不息”展为例,阐发后人类主义的中国独特状态。

 

简介：

 

中国社会科学院哲学所研究员，美国富布莱特访问学者，北京大学博士后，曾任国际美学协会（IAA）五位总执委之一与中华美学学会副秘书长，Comparative Philosophy编委。著作有《生活美学》《分析美学史》《当代艺术理论》《生活中的美学》《艺术终结之后》《视觉美学史》《当代中国美学研究》《无边风月》《世界又平又美》《美学国际》Subversive Strategies in Contemporary Chinese Art（Brill, 2011）The Aesthetics of Everyday Life: East and West (Cambridge Scholars, 2014),《生活美学与艺术经验》获“三个一百”原创出版奖。翻译维特根斯坦《美学、心理学和宗教信仰的演讲与对话集》沃尔海姆《艺术及其对象》等5部，在《东西方思想杂志》等发表英文论文十余篇，主编“北京大学美学艺术丛书”“美学艺术学译文丛书”“生活美学小丛书”，在中国美术馆等策划多次艺术展。