20世纪艺术美学理论的维度转换——从主客间性与主体间性所作的考察

发布时间：2018-03-21 07:06

本文选题：艺术学　切入点：客体性　出处：《艺术百家》2009年06期 　论文类型：期刊论文

【摘要】：艺术美学研究发端于古希腊,并形成客体性的本体论传统,其代表性的理论是模仿说。自17世纪起,主体性意识开始自觉,美学的本体论逐渐向主体性转移,代表性理论则是表现说和情感说。这两个阶段在认识论上都表现为作品中心主义,将作品视为不依赖接受者而独立存在的实体。进入20世纪后,艺术美学在主体性提升的过程中将其从本体论拓展到认识论,走向主客间性,注重在主体心理的参照下研究艺术形式。大约在20世纪60年代前后,抽象的主体逐渐具体化,不同文化、民族、国家、地区、时代等因素介入美学,于是进入主体间性阶段。当前艺术美学的研究应以主体间性理论为基础,综合此前各阶段的理论和方法,不可偏废。
[Abstract]:The study of art aesthetics originated in ancient Greece and formed the object ontology tradition. Its representative theory is imitation theory. Since 17th century, the subjective consciousness has been conscious, and the ontology of aesthetics has gradually shifted to subjectivity. The representational theory is the theory of expression and the theory of emotion. These two stages of epistemology are both works centralism, which regards the work as an independent entity independent of the recipient. After 20th century, In the process of promoting subjectivity, art aesthetics extends from ontology to epistemology, moves towards subject-object interrelationship, pays attention to the study of art forms under the reference of subjective psychology. About 1960s, abstract subjects gradually materialize. Different cultures, nationalities, countries, regions, times and other factors enter into the stage of intersubjectivity. The current study of art aesthetics should be based on the theory of intersubjectivity and integrate the theories and methods of previous stages.
【作者单位】：南京艺术学院人文学院;
【基金】：国家“211工程”三期“艺术学理论创新与应用研究”项目阶段性成果之一
【分类号】：J02

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