Analytic Aesthetics in Mainland China

East Asian Journal of Philosophy 2 (3):29-49 (2023)
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Abstract

Since its emergence in the 1950s, analytic aesthetics has become the mainstream approach to aesthetics in the English-speaking world, and it has subsequently spread throughout most of the world, including mainland China. Although it was introduced into the Chinese academic world at an early time, around the late 1950s, and has been disseminated and researched in China over the past three decades, analytic aesthetics remains underdeveloped in China. Chinese academics tend to have little familiarity with, and exposure to, analytic approaches to aesthetics. Unsurprisingly, given this situation, Chinese contributions to analytic aesthetics have had a marginal impact on the international academic discussion. This paper aims at providing a picture of the development of analytic aesthetics in China. In section 1, I clarify the scope of the paper. Section 2 briefly introduces aesthetics in China so as to outline the context for our discussion about analytic aesthetics. In section 3, I first offer a brief historical narrative of the dissemination and reception of analytic aesthetics in China, and then explore how analytic aesthetics has been researched and taught in China.

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Jiachen Liu
National University of Singapore

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References found in this work

Languages of Art: An Approach to a Theory of Symbols.Nelson Goodman - 1971 - British Journal for the Philosophy of Science 22 (2):187-198.
Art and its Objects.Richard Wollheim - 1968 - Cambridge, United Kingdom: Cambridge University Press. Edited by Richard Thomas Eldridge.
The world viewed: reflections on the ontology of film.Stanley Cavell - 1971 - Cambridge: Harvard University Press.

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