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一波“美学热”的浪潮使十一亿人不再感到美学饥渴。水平不断提高的读者向美学家们提出了更高的要求。当泛泛的介绍与本质问题的探讨不再引人注目的时候,彭立勋教授已把目光转移到审美心理、审美经验上来。中国美学界的这一重点转移的标志之一,用蒋孔阳先生的话来说,是“彭立勋的《美感心理研究》、陆一帆的《文艺心理学》等”。①为了使美学研究的横竿不断升高,彭立勋在完成《美感心理研究》之后不久,便前往英国剑桥大学,潜心美学研究;回国之后,又写出这本20余万字的《审美经验论》(长江文艺出版社1989年12月第1版)。这是一部站在现代水平上探讨审美经验和艺术特点的专著。全书分为四编。第一编俯览审美经验研究在当代西方美学格局中的地位。第二编对当代各种审美经验理论作了综合评述,在肯定
A wave of “aesthetical fever” has left 1.1 billion people no longer feeling aesthetically hungry. The increasing level of readers to the aestheticists put forward higher requirements. When general introduction and discussion of essential issues are no longer noticeable, Professor Peng Lixun has shifted his attention to aesthetic psychology and aesthetic experience. In the words of Jiang Kongyang, one of the hallmarks of this shift in focus of the Chinese aesthetic community is “Peng Lixun’s Aesthetic Psychology Study” and Lu Yifan’s “Arts Psychology”. In order to keep the horizontal bar of aesthetics rising, Peng soon after going through “Aesthetic Psychology Research”, went to Cambridge University in the United Kingdom and devoted himself to the study of aesthetics. After returning to China, Peng Lixun wrote the “Aesthetic Experience Theory” of more than 20 words. (Yangtze River Art Publishing House in December 1989 first edition). This is a monograph that stands at the modern level to explore the aesthetic experience and artistic features. The book is divided into four series. The first series overlooks the status of aesthetic experience research in the contemporary Western aesthetics. The second part of the contemporary theory of various aesthetic experience made a comprehensive review, in the affirmative