CAJ | 학술논문

当代美学处在市民社会全面技术复制的情形下，试图颠覆这种技术复制，同时却又接受了后者提供的一个基本前提：感性与想象力的自足性。正是这个基本前提将当代美学与和它一样也追求自由的康德美学区别开来了，因为康德美学的出发点是一套目的论的终极秩序，而当代美学对此不感兴趣，将其斥为幻象。
당대미학처재시민사회전면기술복제적정형하，시도전복저충기술복제，동시각우접수료후자제공적일개기본전제：감성여상상력적자족성。정시저개기본전제장당대미학여화타일양야추구자유적강덕미학구별개래료，인위강덕미학적출발점시일투목적론적종겁질서，이당대미학대차불감흥취，장기척위환상。
Modern aesthetics is copied by technique comprehensively in civil society and it tries to deconstruct the technical copying, but accepts a basic premise provided by the latter: the self-con-tained-ness of the perceptual and imagination. This basic premise distinguishes modern aesthetics from Kantian aesthetics which also pursues freedom. The starting point of Kantian aesthetics is a set of ultimate order of Teleology, which shows little interest in modern aesthetics but treats it as fanta-sy. This hasty refusal leads to the disorientation of modern aesthetics which regards itself as a kind of“liberation”and“freedom”.