现象学美学:其范围的界定

• 作 者: 罗曼·英加登 刘方炜
• 出 处: 当代电影
• 发表日期: 1989年03期
• 关键词: 艺术作品 审美对象 人工制作 一幅画 情感色彩 创作过程 画中 伦勃朗 审美价值 审美效果

如果我们将“美学”一词运用于现代美学兴起前的时期,它确有一独特的历史。从古希腊开始,美学的探索就在两个极端间摆动。一方面,美学专门探索“主观”,即产生艺术作品的经验和活动,或专门探究读者的接受经验和行为、感觉的接受,即艺术作品(或其它审美对象)中的愉悦的快感的接受,而且一般都认为从中再无其它东西产生。另一方面,美学探索集中在几种特殊的“对象”上,诸如山岳、风景和日落,或是人工制作、通常称为“艺术作品”的

If we apply the term “aesthetics” to the period before the rise of modern aesthetics, it does have a unique history. From ancient Greece, the exploration of aesthetics swings between two extremes. On the one hand, aesthetics explores “subjectivity” on the one hand, that is, the experience and activity of producing works of art or the reader’s acceptance of experiences and behaviors, the acceptance of feelings, that is, the pleasures of pleasure in works of art (or other aesthetic objects) And generally think there is nothing else to produce. On the other hand, aesthetic exploration centers on several special “objects,” such as mountains, landscapes and sunsets, or artificially produced, often referred to as “works of art.”