CAJ | 학술논문

西方的文学及艺术从未远离“美学”及“审美”的话题。自上世纪八十年代以来，被称为“新审美批评”派的美国学者不断倡导的审美复兴，实质上是对没有在十八世纪得到充分发展的欧洲浪漫主义美学的现代化。为此，在阐释“体验”、“情感”、“神情涣散”等关键术语时，他们不自觉地深受其中产阶级精英文化的影响。以林赛?沃特斯等为代表的“新审美批评”派美学观念的形成与发展深刻地反映了当代西方美学思想家意图唤起人们对美再认知的美好愿望。
서방적문학급예술종미원리“미학”급“심미”적화제。자상세기팔십년대이래，피칭위“신심미비평”파적미국학자불단창도적심미복흥，실질상시대몰유재십팔세기득도충분발전적구주랑만주의미학적현대화。위차，재천석“체험”、“정감”、“신정환산”등관건술어시，타문불자각지심수기중산계급정영문화적영향。이림새?옥특사등위대표적“신심미비평”파미학관념적형성여발전심각지반영료당대서방미학사상가의도환기인문대미재인지적미호원망。
Western literature and art never gos too far from the topic of “Aesthetics” and “the Aesthetic”. The aesthetic revival advocated by the so called “new aesthetic school” springing up in USA since the 1980s is actually a modernization of European romantic aesthetics which was not completely developed in the 18th century. Therefore , when elucidating the key terms like “experience”, “affect” ,“distraction” and so on , the aesthetic American scholars are infatuated unconsciously with their middle class elitist culture. Formation and development of the new aesthetic thought represented by Lindsay Walters etc. have profoundly reflected contemporary western thinkers’ desire for reawakening people’s aesthetic cognition.