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克罗齐与杜威都曾为20世纪初西方美学思想中“情感表现论”的主流贡献过自己的力量,显然,由于思维模式以及理想追求的根本差异,二者在“情感表现论”上又存在着广泛的差异。在表现的来源上,克罗齐把表现看作认识过程的一个阶段,而杜威的情感表现则是一个生命过程。在表现的内容上,克罗齐重在自我情感的抒发,杜威却认为情感不是一个等待被表现的东西,而是一个过程。在表现的目的上,克罗齐主张情感的自我表现,而杜威则认为艺术不是为了自我而表现,而是为了交流,正是通过无所不在的自由交流,艺术才实现了自身的社会价值。
Both Croce and Dewey contributed their strength to the mainstream of “Emotional Expressionism ” in Western aesthetics at the beginning of the 20th century. Obviously, due to the fundamental difference between the mode of thinking and the ideal pursuit, "There are a wide range of differences. In the source of performance, Croce sees performance as a stage of the cognitive process, while Dewey’s emotional expression is a life process. In the content of performance, Croce focuses on the expression of self-emotion, Dewey thinks that emotion is not a thing waiting to be expressed, but a process. For the purpose of expression, Croce advocated the emotional self-expression, while Dewey thought that art is not for the performance of self, but for the exchange, it is through ubiquitous freedom of exchange, art has realized its own social value.