论现象学方法与概念对艺术审美本质研究的意义
发布时间：2018-08-06 15:58
【摘要】：本文主要以现象学哲学家和美学家关于艺术现象的思想为依据,考察现象学方法和他们所使用的主要概念,特别是意向性概念和视域概念对于艺术审美本质研究有何意义与价值。 导言部分主要讨论艺术审美本质研究在我国美学和文艺学理论中的地位和面临的问题,以及西方现象学哲学和美学对这一问题的研究情况。我国美学和文艺学在艺术审美本质研究上主要的问题是对艺术现象界定不明确,其原因是各自存在着非自明的理论设定。现象学方法能够悬置我们对事物理解中存在的成见,对文艺美学的艺术审美本质研究具有重要意义。现象学的美学思想一方面体现为对具体的艺术创作、作品和接受的分析,另一方面体现为对艺术与存在或真理等关系的分析,这两个方面分别与意向性和视域概念相关,这两个概念在不同现象学家那里既有明显的传承性又有很大差异,因此需要综合起来进行考察,才能帮助我们理解艺术现象的本质结构。 第一章主要讨论“美的艺术”观念的形成以及传统哲学美学和艺术学的艺术本质观。“美的艺术”观念的确立是一个长期过程,艺术自身的发展是人们对“艺术”的理解和对“美”的理解明确起来的条件。传统哲学美学的艺术本质观的内在矛盾是一方面将美理解为感性的,另一方面试图将其与理性观念联系起来,其根源则在于主体性哲学感性与理性、主体与客体二元对立的立场；艺术学以实证科学的方法研究艺术,但却将艺术现象与审美现象割裂开来,以艺术起源和艺术要素问题取代艺术审美本质问题。 第二章和第三章分别以意向性和视域概念为出发点,讨论艺术审美本质与审美意识和存在及真理的关系。 第二章主要分析胡塞尔的意向性概念,包括以此概念为基础的客体化行为与非客体化行为、奠基、观念直观、价值直观等概念之间的关系,以及意向性概念的不同变体,如海德格尔的忧虑概念、萨特的意向性概念和梅洛一庞蒂的身体意向性概念之间的关系,从而考察从审美意识的角度如何来界定艺术的审美本质。第一节讨论现象学的意向性概念和本质还原方法的重要意义,它们能够克服本质与现象、存在与现象的二元论,从而克服艺术本质观念的理性、感性和主客体二元对立的内在矛盾。现象学方法的重要意义在于改变了对本质与现象关系的传统理解,但由于胡塞尔坚持意识哲学立场,将本质理解为观念,而由于艺术的特殊存在方式,它的本质——美不能被理解为一般的观念；现象学的本质直观与“艺术直观”有相近之处,但前者是理论行为而后者是感性活动,二者还是根本不同的。第二节依据客体化和奠基概念分析审美意识,审美意识包含审美直观和审美感受两个部分,应该是这两个部分的统一,但根据胡塞尔的意识分析,特别是将感受划为非客体化行为,即不具有自身独特对象的行为,我们将推导出审美直观与审美感受相分离的结论。舍勒则将本质还原理解为价值还原,即将胡塞尔理解的非客体化的感受(情感、意愿等)行为理解为指向价值客体的行为,从而使审美意识能够构造自身的对象,成为一种独立的意识行为。但舍勒理解的价值是超感性的,这就又导致审美意识感性与非感性的矛盾。因此在意识哲学立场上理解艺术现象还是存在着很大局限性。 第三章主要分析胡塞尔的视域概念,包括以此概念为基础的本真性与非本真性、体现与共现、在场与不在场、存在、交互主体性、生活世界等概念的关系,以及视域概念的不同变体,如海德格尔的大地、萨特的前反思的我思、梅洛一庞蒂的肉身、伽达默尔的历史视域等概念的关系,从而考察从艺术与世界的关系角度如何来界定艺术的审美本质。第一节讨论视域概念的重要意义,它改变了我们关于世界的客观存在的理解,即我们能够作为对象来把握的在场的存在是以不在场的存在为前提的,现象学首次将不在场引入了西方哲学。现象学要研究的不只是个别的存在物,更重要的是一般的存在,因此个体的视域就要拓展为世界视域,而这种拓展必须以交互主体性为基础,胡塞尔、萨特、梅洛一庞蒂等人都对交互主体性问题做了深入分析,但仍然存在着主体性立场与交互主体性立场的矛盾。交互主体性问题对艺术本质研究有重要意义,萨特、英伽登等都将艺术理解为交互主体性的活动,这对于解决艺术之美的主观性与客观性之间的矛盾很有意义。第二节根据胡塞尔关于生活世界、科学世界和哲学世界的划分,讨论艺术作为一种把握世界的独特方式的属性。生活世界是非课题化的世界视域,而在科学、哲学以及其他的文化活动中世界作为对象被把握,但不同属性的文化活动在对世界或存在理解的深度上是不同的。海德格尔认为存在本身不是在场的存在物而是不在场的,而人这种特殊的存在者既是对存在的遮蔽又能够进行去蔽,或者说人的文化“世界”与它的存在基础“大地”之间总是处于遮蔽与去蔽的辩证关系之中,艺术比科学更能揭示不在场之物的意义。这种对艺术与世界关系的辩证理解由于引入了不在场这一概念,比传统的表现论和再现论都更为深刻。但这种对艺术本质的理解比较抽象,而在受海德格尔影响的解释学美学尤其是接受美学中,总体的、抽象的视域转化为历史的、具体的视域,因此艺术的主观性与客观性问题又凸显出来。第三节依据海德格尔对真理概念的理解讨论艺术审美本质与真理的关系。海德格尔理解的真理不是“符合论”的真理,因为符合论的真理只与在场之物有关,而海德格尔理解的真理是在场与不在场辩证关系中呈现的真理,在此意义上的真理就与艺术之美具有密切的关系。这种观点启示我们不应当仅仅将艺术审美本质理解为某种抽象的、固定的东西,而是应当理解为一种活生生的、在每次具体的艺术活动当中自身显现的东西。 第四章和第五章分别从艺术创作和艺术接受的角度分析审美感知、审美想象、图像意识、符号意识和审美情感之间,以及它们与作为审美对象的艺术作品之间的关系问题。 第四章主要讨论艺术创作与审美感知和审美想象的关系。审美感知和审美想象是艺术创作的关键环节,但艺术创作最终要落实到技术性的操作层面,梅洛-庞蒂将胡塞尔意识主体的感知转化为身体主体的感知,使感知与客观事物融为一体,进而与不在场的世界的整体相协调,从而克服了艺术创作中审美感知与技术操作的矛盾,同时也克服了感知与情感的矛盾；在此基础上我们对艺术形式在创作中的作用进行了分析,认为形式不仅是客观的艺术作品的特性,而且渗透到了整个艺术创作过程中。萨特则将想象理解为对自在存在的克服和对人的自由世界的构造,认为现实世界是破碎的而想象能够构造一种不在场的完整性,指出美和艺术的本质就在于创造性的、自由的想象活动,他强调了审美想象的实践性,从而也解决了想象与情感的矛盾；在此基础上我们对虚构在艺术创作中的作用进行了分析,认为虚构是建立在想象的创造性和自由性基础上的对现实时空关系的克服和对虚拟时空关系的构造的活动。但由于哲学立场的局限,梅洛-庞蒂和萨特都没有将审美感知和审美想象视为一个整体,反而有使它们对立的倾向,因而都具有片面性。 第五章主要以文学和视觉艺术这两种艺术类型为例,讨论艺术作品的存在方式和艺术接受的问题。英迦登的作品存在论与形式主义的、结构主义的作品存在论的区别在于,他将作品理解为意向性存在而不是实体性存在,因此我们可以将艺术作品的存在方式还原为艺术接受的过程,作品不是纯客观的,接收过程不是纯主观的,二者不可分割。由于文学以语言符号为载体,而视觉艺术是一种图像,文学和视觉艺术这两类艺术可以还原为符号意识和图像意识,胡塞尔对图像意识和符号意识的分析表明,图像对象和符号对象比直观对象复杂,它们是三重对象,即它们的物质载体、它们的意义内容和它们所指向的对象的复合体,文学与视觉艺术的特殊存在方式,或者说它们与一般的符号和图像的区别则在于,它们的对象既不是实在的观念也不是实在的实体,具体说它们的三重对象之间的关系不同于一般符号和图像,它们的意义内容与客观对象之间的联系被削弱,从而构造出具有虚拟性的对象,此虚拟对象既是有限的、在场的形象对象,又包含着无限的、不在场的总体性的意蕴。但将艺术接受还原为图像意识和符号意识,并不意味着艺术接受与审美感知的脱离,艺术接受中的图像意识、符号意识,包括审美情感,都是以审美感知为基础的。杜夫海纳的审美经验分析表明,感知是审美经验中的关键因素,想象、情感以及图像意识和符号意识等都包含在感知当中,这是作为审美对象的艺术作品的客观性的保证。 第六章试图借鉴现象学的理论对中国传统美学概念“意象”和“情”“景”进行分析。意象概念和情、景这对范畴集中体现了中国传统哲学思想中有与无、虚与实的辩证关系,同时与现象学关于在场与不在场、有限性与无限性的思想相通,我们根据现象学的相关理论对它们进行重新阐释,试图更深入地分析艺术创作和艺术接受现象。具体地说,意象概念包含的言、象、意之间的辩证关系以及情与景之间的辩证关系,体现了具体的审美直观、艺术接受中的图像和符号意识与艺术的独特审美意蕴和审美情致的本质联系。
[Abstract]:This paper, based on the thought of phenomenological philosophers and aesthetionists on artistic phenomena, examines the phenomenological methods and the main concepts they use, especially the meaning and value of the concept of intentionality and the concept of field of view on the study of the essence of art and aesthetics.
The introduction part mainly discusses the status and problems of the study of the essence of artistic aesthetic in the theory of aesthetics and literature and art in China, as well as the research on this problem in the Western phenomenological philosophy and aesthetics. The main problem in the study of aesthetic and aesthetic nature of Chinese aesthetics and literature and art is that the definition of artistic phenomena is not clear, and the reasons are the various reasons. The phenomenological method can suspend the stereotypes that exist in the understanding of things, and it is of great significance to the study of the artistic and aesthetic essence of literary aesthetics. The aesthetic thought of phenomenology is reflected on the analysis of the specific artistic creation, the works and the acceptance, and the other is the art and existence or the existence or existence. The analysis of the relationship between truth and so on, these two aspects are related to the concept of intentionality and the concept of vision respectively. These two concepts have obvious inheritance and great differences in different phenomenologists, so it is necessary to make a comprehensive investigation to help us understand the essential structure of the art phenomenon.
The first chapter mainly discusses the formation of the concept of "art of beauty" and the artistic essence of traditional philosophical aesthetics and art. The establishment of the concept of "art of beauty" is a long-term process, and the development of art itself is the condition for the understanding of "art" and the understanding of the understanding of "beauty". On the one hand, the inner contradiction of view is to understand beauty as sensibility. On the other hand, it tries to link it with the idea of reason. Its root lies in the standpoint of the two yuan opposition between the subjective philosophy and the reason, the subject and the object; the art studies art with the method of empirical science, but it separates the artistic phenomenon from the aesthetic phenomenon, with the art of art. The problem of origin and artistic elements replaces the essence of artistic aesthetics.
The second and third chapters discuss the relationship between the essence of artistic aesthetics and aesthetic consciousness, existence and truth, starting from the concepts of intentionality and horizon.
The second chapter mainly analyzes Husserl's concept of intentionality, including the relationship between objectified and non objectified behavior, foundation, idea intuition and value intuition, as well as different variations of the concept of intentionality, such as the worry concept of Hai Degel, the concept of Sutter's intentionality and the physical intention of Melo pponty. The relationship between the concept of sex, so as to examine how to define the aesthetic essence of art from the perspective of aesthetic consciousness. The first section discusses the significance of the concept of intentionality and the essential reduction method of phenomenology, which can overcome the essence and phenomenon, the existence and the dualism of the phenomenon, so as to overcome the rational, sensibility and subject and object of the essence of art. The intrinsic contradiction of the two yuan opposition. The important meaning of the phenomenological method is to change the traditional understanding of the relationship between the essence and the phenomenon, but because Husserl insists on the philosophical standpoint of the consciousness, the essence is understood as the idea, and because of the special existence of art, its essence, beauty can not be understood as a general idea; the essence of phenomenology is intuitionistic. It is similar to "art intuition", but the former is theoretical behavior and the latter is perceptual activity, the two is fundamentally different. The second section analyzes aesthetic consciousness according to the concept of objectification and foundation, and the aesthetic consciousness includes two parts of aesthetic intuition and aesthetic feeling, which should be the unity of the two parts, but according to Husserl's consciousness, In particular, we will deduce the conclusion that aesthetic intuition and aesthetic feeling are separated from the behavior of non objectification, that is, not having its own unique object. Scheler understands the essence reduction as value reduction, and Husserl understands the behavior of the non objectified feelings (emotion, will and so on) as the behavior of pointing to the value object. Thus, aesthetic consciousness can construct its own object and become an independent act of consciousness. However, the value of Scheler's understanding is super sensibility, which leads to the contradiction between aesthetic consciousness and non sensibility. Therefore, there is a great limit to understanding artistic phenomena in the standpoint of consciousness philosophy.
The third chapter mainly analyzes the concept of Husserl's horizon, including the true and non true nature based on this concept, the relationship between the representation and the co occurrence, the presence and absence, the existence, the intersubjectivity, the life world and other concepts, as well as the different variations of the concept of the horizon, such as the land of Degel, the former reflection of Sutter, and the flesh of Melo pponty. The first section discusses the significance of the concept of view in the first section, which changes our understanding of the objective existence of the world, that is, the existence of the presence we can grasp as the object is not present. On the premise of the existence, phenomenology first introduces the absence of the presence to the western philosophy. The phenomenology is not only the individual existence, but more important is the general existence, so the individual's horizons should be extended to the world view, and this expansion must be based on the interactive subjectivity, and Husserl, Sutter, Melo and Ponty are all interactive. The problem of subjectivity is deeply analyzed, but there is still a contradiction between the main position and the intersubjectivity. The question of intersubjectivity is of great significance to the study of the essence of art. Sutter and Ingaden all understand the art as the activity of intersubjectivity, which is very intentional for the contradiction between the subjectivity and objectivity of the beauty of art. The second section, according to Husserl's division of the world of life, the scientific world and the philosophical world, discusses art as a unique way of grasping the world. The world of life is a non subject world view, while the world is grasped in science, philosophy and other cultural activities, but the cultural activities of different attributes are in the world. The depth of the understanding of the world or existence is different. Heidegger believes that existence is not the existence of the presence of the presence, but the presence of the human being, and the human being is not only a shelter from the existence, or the human culture "the world" is always sheltered from its foundation "the earth". In the dialectical relationship, art can reveal the meaning of the object of absence more than science. This dialectical understanding of the relationship between art and the world is more profound than the concept of absence, which is more profound than the traditional expressionism and reappearance theory. But this understanding of the essence of art is more abstract, especially in the hermeneutic aesthetics influenced by Heidegger. The third section, based on Heidegger's understanding of the concept of truth, discusses the relationship between the essence of art and the truth and the relationship between the essence of art and the truth. The truth that Heidegger understands is not the truth of "conforms", because the truth of Heidegger's understanding is not the truth of "conforms". The truth of conforming is only related to what is present, and the truth that Heidegger understands is the truth in the dialectical relationship between presence and absence, and the truth in this sense has a close relationship with the beauty of art. This view inspires that we should not only understand the aesthetic nature of art as an abstract, fixed thing, but a certain thing. When it is understood as a living thing, it appears itself in every concrete art activity.
The fourth and fifth chapters analyze the relationship between aesthetic perception, aesthetic imagination, image consciousness, symbolic consciousness and aesthetic emotion from the perspective of artistic creation and artistic acceptance, as well as the relationship between them and the art works as aesthetic objects.
The fourth chapter mainly discusses the relationship between artistic creation and aesthetic perception and aesthetic imagination. Aesthetic perception and aesthetic imagination are the key links of artistic creation. However, artistic creation should be implemented at the technical level of operation. Melo Ponty transforms the perception of the body of Husserl consciousness into the perception of body body, so that perception and objective things are fused into one. As a result, the contradiction between aesthetic perception and technical operation in artistic creation is overcome, and the contradiction between perception and emotion is overcome. On the basis of this, we analyze the role of art form in the creation of art, and consider that the form is not only the characteristic of the objective art works, but also the infiltration. In the whole process of artistic creation, Sutter regards imagination as the overcoming of the existence of freedom and the construction of a free world for people. The real world is broken and imagination can construct a kind of absence of integrity. It points out that the essence of beauty and art lies in creativity, free imagination, and he emphasizes the reality of aesthetic imagination. It also solves the contradiction between imagination and emotion, and on the basis of this, we analyze the role of fiction in artistic creation, and believe that fiction is based on the creative and free nature of imagination to overcome the real time space relationship and to construct the virtual space-time relationship. But because of the limitation of philosophical standpoint, may Neither Lo-Ponty nor Sartre regards aesthetic perception and imagination as a whole, but they tend to oppose each other, so they are both one-sided.
The fifth chapter mainly takes the two types of art, literature and visual art as an example, to discuss the existence of art works and the issue of art acceptance. The existence of art works is reduced to the process of art acceptance. The work is not purely objective, the receiving process is not purely subjective, and the two is inseparable. As literature is the carrier of language symbols, visual art is a kind of image, and the two types of art, literature and visual art can be reduced to symbolic consciousness and image consciousness, and Husserl's image The analysis of consciousness and symbolic consciousness shows that the image object and the symbolic object are more complex than the visual objects. They are three heavy objects, that is, their material carriers, their meaning and the complex of the objects they point to, the special way of existence of literature and visual art, or the difference between them and the general symbols and images, Their objects are neither real concepts nor real entities, specifically their relationship between the three objects is different from the general symbols and images, and the connection between their meaning content and the objective object is weakened, thus constructing an object with a virtual nature, which is both a limited, present image object and a virtual object. It contains the overall meaning of infinite and unpresent. But the acceptance of art to image consciousness and symbolic consciousness does not mean that the acceptance of art is separated from the aesthetic perception. The image consciousness, symbolic consciousness, and aesthetic emotion in the acceptance of art are based on the aesthetic perception. The aesthetic experience of Duff hina shows that the sense of aesthetic experience shows that the sense of aesthetic experience is the basis of the aesthetic experience. Knowledge is the key factor in aesthetic experience. Imagination, emotion, image consciousness and symbolic consciousness are all included in the perception. This is the guarantee of the objectivity of the artistic works of the aesthetic object.
The sixth chapter tries to use the theory of phenomenology to analyze the traditional Chinese aesthetic concept of "image" and "emotion". On the basis of the theory of phenomenology, we reinterpret them and try to analyze the phenomenon of artistic creation and art acceptance more deeply. Specifically, the dialectical relationship between the words, images, meaning, and the relationship between feelings and scenery is embodied in the concept of image, which embodies the aesthetic intuition, image and symbol consciousness in the acceptance of art. Art and art
【学位授予单位】：山东大学
【学位级别】：博士
【学位授予年份】：2010
【分类号】：J01
本文编号：2168229
[Abstract]:This paper, based on the thought of phenomenological philosophers and aesthetionists on artistic phenomena, examines the phenomenological methods and the main concepts they use, especially the meaning and value of the concept of intentionality and the concept of field of view on the study of the essence of art and aesthetics.
The introduction part mainly discusses the status and problems of the study of the essence of artistic aesthetic in the theory of aesthetics and literature and art in China, as well as the research on this problem in the Western phenomenological philosophy and aesthetics. The main problem in the study of aesthetic and aesthetic nature of Chinese aesthetics and literature and art is that the definition of artistic phenomena is not clear, and the reasons are the various reasons. The phenomenological method can suspend the stereotypes that exist in the understanding of things, and it is of great significance to the study of the artistic and aesthetic essence of literary aesthetics. The aesthetic thought of phenomenology is reflected on the analysis of the specific artistic creation, the works and the acceptance, and the other is the art and existence or the existence or existence. The analysis of the relationship between truth and so on, these two aspects are related to the concept of intentionality and the concept of vision respectively. These two concepts have obvious inheritance and great differences in different phenomenologists, so it is necessary to make a comprehensive investigation to help us understand the essential structure of the art phenomenon.
The first chapter mainly discusses the formation of the concept of "art of beauty" and the artistic essence of traditional philosophical aesthetics and art. The establishment of the concept of "art of beauty" is a long-term process, and the development of art itself is the condition for the understanding of "art" and the understanding of the understanding of "beauty". On the one hand, the inner contradiction of view is to understand beauty as sensibility. On the other hand, it tries to link it with the idea of reason. Its root lies in the standpoint of the two yuan opposition between the subjective philosophy and the reason, the subject and the object; the art studies art with the method of empirical science, but it separates the artistic phenomenon from the aesthetic phenomenon, with the art of art. The problem of origin and artistic elements replaces the essence of artistic aesthetics.
The second and third chapters discuss the relationship between the essence of artistic aesthetics and aesthetic consciousness, existence and truth, starting from the concepts of intentionality and horizon.
The second chapter mainly analyzes Husserl's concept of intentionality, including the relationship between objectified and non objectified behavior, foundation, idea intuition and value intuition, as well as different variations of the concept of intentionality, such as the worry concept of Hai Degel, the concept of Sutter's intentionality and the physical intention of Melo pponty. The relationship between the concept of sex, so as to examine how to define the aesthetic essence of art from the perspective of aesthetic consciousness. The first section discusses the significance of the concept of intentionality and the essential reduction method of phenomenology, which can overcome the essence and phenomenon, the existence and the dualism of the phenomenon, so as to overcome the rational, sensibility and subject and object of the essence of art. The intrinsic contradiction of the two yuan opposition. The important meaning of the phenomenological method is to change the traditional understanding of the relationship between the essence and the phenomenon, but because Husserl insists on the philosophical standpoint of the consciousness, the essence is understood as the idea, and because of the special existence of art, its essence, beauty can not be understood as a general idea; the essence of phenomenology is intuitionistic. It is similar to "art intuition", but the former is theoretical behavior and the latter is perceptual activity, the two is fundamentally different. The second section analyzes aesthetic consciousness according to the concept of objectification and foundation, and the aesthetic consciousness includes two parts of aesthetic intuition and aesthetic feeling, which should be the unity of the two parts, but according to Husserl's consciousness, In particular, we will deduce the conclusion that aesthetic intuition and aesthetic feeling are separated from the behavior of non objectification, that is, not having its own unique object. Scheler understands the essence reduction as value reduction, and Husserl understands the behavior of the non objectified feelings (emotion, will and so on) as the behavior of pointing to the value object. Thus, aesthetic consciousness can construct its own object and become an independent act of consciousness. However, the value of Scheler's understanding is super sensibility, which leads to the contradiction between aesthetic consciousness and non sensibility. Therefore, there is a great limit to understanding artistic phenomena in the standpoint of consciousness philosophy.
The third chapter mainly analyzes the concept of Husserl's horizon, including the true and non true nature based on this concept, the relationship between the representation and the co occurrence, the presence and absence, the existence, the intersubjectivity, the life world and other concepts, as well as the different variations of the concept of the horizon, such as the land of Degel, the former reflection of Sutter, and the flesh of Melo pponty. The first section discusses the significance of the concept of view in the first section, which changes our understanding of the objective existence of the world, that is, the existence of the presence we can grasp as the object is not present. On the premise of the existence, phenomenology first introduces the absence of the presence to the western philosophy. The phenomenology is not only the individual existence, but more important is the general existence, so the individual's horizons should be extended to the world view, and this expansion must be based on the interactive subjectivity, and Husserl, Sutter, Melo and Ponty are all interactive. The problem of subjectivity is deeply analyzed, but there is still a contradiction between the main position and the intersubjectivity. The question of intersubjectivity is of great significance to the study of the essence of art. Sutter and Ingaden all understand the art as the activity of intersubjectivity, which is very intentional for the contradiction between the subjectivity and objectivity of the beauty of art. The second section, according to Husserl's division of the world of life, the scientific world and the philosophical world, discusses art as a unique way of grasping the world. The world of life is a non subject world view, while the world is grasped in science, philosophy and other cultural activities, but the cultural activities of different attributes are in the world. The depth of the understanding of the world or existence is different. Heidegger believes that existence is not the existence of the presence of the presence, but the presence of the human being, and the human being is not only a shelter from the existence, or the human culture "the world" is always sheltered from its foundation "the earth". In the dialectical relationship, art can reveal the meaning of the object of absence more than science. This dialectical understanding of the relationship between art and the world is more profound than the concept of absence, which is more profound than the traditional expressionism and reappearance theory. But this understanding of the essence of art is more abstract, especially in the hermeneutic aesthetics influenced by Heidegger. The third section, based on Heidegger's understanding of the concept of truth, discusses the relationship between the essence of art and the truth and the relationship between the essence of art and the truth. The truth that Heidegger understands is not the truth of "conforms", because the truth of Heidegger's understanding is not the truth of "conforms". The truth of conforming is only related to what is present, and the truth that Heidegger understands is the truth in the dialectical relationship between presence and absence, and the truth in this sense has a close relationship with the beauty of art. This view inspires that we should not only understand the aesthetic nature of art as an abstract, fixed thing, but a certain thing. When it is understood as a living thing, it appears itself in every concrete art activity.
The fourth and fifth chapters analyze the relationship between aesthetic perception, aesthetic imagination, image consciousness, symbolic consciousness and aesthetic emotion from the perspective of artistic creation and artistic acceptance, as well as the relationship between them and the art works as aesthetic objects.
The fourth chapter mainly discusses the relationship between artistic creation and aesthetic perception and aesthetic imagination. Aesthetic perception and aesthetic imagination are the key links of artistic creation. However, artistic creation should be implemented at the technical level of operation. Melo Ponty transforms the perception of the body of Husserl consciousness into the perception of body body, so that perception and objective things are fused into one. As a result, the contradiction between aesthetic perception and technical operation in artistic creation is overcome, and the contradiction between perception and emotion is overcome. On the basis of this, we analyze the role of art form in the creation of art, and consider that the form is not only the characteristic of the objective art works, but also the infiltration. In the whole process of artistic creation, Sutter regards imagination as the overcoming of the existence of freedom and the construction of a free world for people. The real world is broken and imagination can construct a kind of absence of integrity. It points out that the essence of beauty and art lies in creativity, free imagination, and he emphasizes the reality of aesthetic imagination. It also solves the contradiction between imagination and emotion, and on the basis of this, we analyze the role of fiction in artistic creation, and believe that fiction is based on the creative and free nature of imagination to overcome the real time space relationship and to construct the virtual space-time relationship. But because of the limitation of philosophical standpoint, may Neither Lo-Ponty nor Sartre regards aesthetic perception and imagination as a whole, but they tend to oppose each other, so they are both one-sided.
The fifth chapter mainly takes the two types of art, literature and visual art as an example, to discuss the existence of art works and the issue of art acceptance. The existence of art works is reduced to the process of art acceptance. The work is not purely objective, the receiving process is not purely subjective, and the two is inseparable. As literature is the carrier of language symbols, visual art is a kind of image, and the two types of art, literature and visual art can be reduced to symbolic consciousness and image consciousness, and Husserl's image The analysis of consciousness and symbolic consciousness shows that the image object and the symbolic object are more complex than the visual objects. They are three heavy objects, that is, their material carriers, their meaning and the complex of the objects they point to, the special way of existence of literature and visual art, or the difference between them and the general symbols and images, Their objects are neither real concepts nor real entities, specifically their relationship between the three objects is different from the general symbols and images, and the connection between their meaning content and the objective object is weakened, thus constructing an object with a virtual nature, which is both a limited, present image object and a virtual object. It contains the overall meaning of infinite and unpresent. But the acceptance of art to image consciousness and symbolic consciousness does not mean that the acceptance of art is separated from the aesthetic perception. The image consciousness, symbolic consciousness, and aesthetic emotion in the acceptance of art are based on the aesthetic perception. The aesthetic experience of Duff hina shows that the sense of aesthetic experience shows that the sense of aesthetic experience is the basis of the aesthetic experience. Knowledge is the key factor in aesthetic experience. Imagination, emotion, image consciousness and symbolic consciousness are all included in the perception. This is the guarantee of the objectivity of the artistic works of the aesthetic object.
The sixth chapter tries to use the theory of phenomenology to analyze the traditional Chinese aesthetic concept of "image" and "emotion". On the basis of the theory of phenomenology, we reinterpret them and try to analyze the phenomenon of artistic creation and art acceptance more deeply. Specifically, the dialectical relationship between the words, images, meaning, and the relationship between feelings and scenery is embodied in the concept of image, which embodies the aesthetic intuition, image and symbol consciousness in the acceptance of art. Art and art
【学位授予单位】：山东大学
【学位级别】：博士
【学位授予年份】：2010
【分类号】：J01
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