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在人们试图阐明的(审美)情境中,大多数的美学理论与分析趋向于将注意力倾注在其接受的方面,而不是其创作的方面。因此,注意力通常是集中在审美经验(强调知觉)、欣赏、以及评论家在此过程中的作用等问题上。当然,对于另一方面,即关于艺术家创造能力的本质,人们也做了一些工作,这种努力或许发轫于柏拉图的《伊安篇》。不过总的说来,人们的注意力大多被前一方面所吸引。而我希望在此强调审美创作的方面,因此还有必要作点初步的解释。譬如,我不打算更多涉及另一种常见的理论兴趣,它所关注的是通常认为由文学、音乐及美术所构成的艺术世界,不管它们的趣味是高雅还是拙劣。在《艺术即经验》中,杜威正确地将艺术活动看作一个
In the (aesthetic) situations that people try to elucidate, most aesthetic theories and analyzes tend to focus attention on what they accept, not on what they create. Therefore, attention is usually focused on issues of aesthetic experience (emphasizing perception), appreciation, and the role of critics in the process. Of course, for the other hand, people have also done some work on the essence of the artist’s creative ability, which may be attributed to Plato’s Ian chapter. But in general, people’s attention is mostly drawn to the previous one. And I hope that I will emphasize the aspects of aesthetic creation here, so it is necessary to make some preliminary explanations. For example, I do not intend to talk more about another common theoretical interest. It focuses on the world of art generally considered to be composed of literature, music and art, whether their taste is elegant or clumsy. In “Art is Experience”, Dewey correctly considered art activity as one