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自美学作为一门学科出现以来,美学史上先后有以下几种代表性的观点:作为感性学的美学、作为判断力的美学、作为艺术哲学的美学。鲍姆加登是第一种观点的提倡者,他为美学画出了一片领域并加以命名,但在他那里,人类的情感活动还不是一种独立的行为,只是认识的感性阶段。这样,“美学”在鲍氏那里只是获得了命名,却没有获得独立的地位。康德是第二种观点的代表,虽然他是在“判断力”的名下讨论美学问题的,但他认为美就是对象的适当形式唤起人们想象力与诸知性能力的协调运动,崇高就是对象体积的无穷和力量的无限窒息人的想象力而导致人们借助实践理性化痛感为快感的运动。康德的
Since the appearance of aesthetics as a subject, there have been several representative views in the history of aesthetics successively: aesthetics as perceptualism, aesthetics as judgment, and aesthetics as art philosophy. Baumgarten was the advocate of the first point of view. He plotted and nomenclature a field of aesthetics, but in him, the emotional activity of human beings was not yet an independent act, but an epistemological stage of understanding. In this way, “Aesthetics ” was named only by Bowers, but did not gain an independent status. Although Kant was the representative of the second point of view, although he discussed aesthetic issues in the name of “judgment,” he considered beauty as the appropriate form of object that evoke a coordinated movement of people’s imagination and abilities of knowing. Infinity and strength of the object infinite suffocating people’s imagination and lead people to practice the rational pain by sensory pleasure. Kant’s