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历来的一些艺术教科书对艺术中的情感活动的论述,常常是多描述性而少原理性,如果有什么原理性论述的话,也大多将情感置于一种非本体(如“伴随”)的地位,这种理论上的薄弱和偏见导致了以下两种情况,一是艺术活动中的情感的盲目性,二是轻视甚至排斥艺术活动中的情感。这两种情况实际上提出了两个重要的理论问题,即情感在艺术中的本体地位问题和艺术情感与普通情感的区别问题。一情感在艺术中的本体论地位
Historically, some art textbooks on the emotional activities of art in the discussion, often more descriptive and less principle, if any of the principles of discourse, but also most of the emotions placed in a non-ontological (such as “accompaniment”) status This theoretical weakness and prejudice lead to the following two situations: one is the blindness of emotion in artistic activities; the other is the neglect or even the exclusion of emotions in artistic activities. These two kinds of situations actually put forward two important theoretical issues, that is, the question of the status of emotion in the art of noumenon and the distinction between artistic emotion and ordinary emotion. An emotion in the art of the ontological status