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美学学科最初诞生时有两个基本定位,一是感知,二是情感。“感知”本是“美学”一词的词源学内涵,因此理应成为美学研究的首要因素,但西方美学界长期以来却忽略了这一点。美学学科要获得新的发展,不仅应重新恢复“感知”的应有地位,同时也需要在新的条件下对其内涵进一步丰富和更新。“情感”虽然一直处于美学研究的核心,但在美学界却遭到了误解和误用,再加上其本身内涵的不确定性,从而使它对审美经验的解释能力大大降低。而中国传统文化中对“情感”的解释则可能为当今的美学思考提供一些新的启示。由于审美经验的价值既可以是肯定性的也可以是否定性的,在美学中引入“否定美学”和“否定美学价值”便极为重要。这不仅扩展了美学的研究范围,也提高了美学的实践意义。但如何才能使美学在环境干预和环境优化方面真正发挥作用,还需要进一步研究和探索。
Aesthetic discipline was originally born two basic positioning, one perception, and second, emotion. “Perception ” is the etymological connotation of “aesthetics ”, so it should be the primary factor of aesthetics research, but western aesthetics has long neglected this point. In order to acquire new development, aesthetics discipline should not only regain the due status of “perception”, but also enrich and update its connotation under new conditions. Although emotion has always been at the core of aesthetics research, it has been misunderstood and misused in the aesthetic circle, which, coupled with the uncertainty of its own connotation, has greatly reduced its ability to interpret aesthetic experience. The interpretation of “emotion ” in Chinese traditional culture may provide some new inspiration for today’s aesthetic thinking. Since the value of aesthetic experience can be either positive or negative, it is very important to introduce “negative aesthetic” and “negative aesthetic value” in aesthetics. This not only expands the scope of the study of aesthetics, but also enhances the practical significance of aesthetics. However, how to make aesthetics play an effective role in environmental intervention and environmental optimization, further research and exploration are needed.