艺术经验的自然审美转向——从杜威到伯林特  

The Natural Aesthetic Turn of Artistic Experience:From Dewey to Berleant

作　　者：范锦熙 Fan Jinxi(Department of Chinese Language and Literature,Xiamen University,Xiamen 361005,China)

机构地区：[1]厦门大学中国语言文学系,福建厦门361005

出　　处：《郑州大学学报（哲学社会科学版）》2023年第5期66-71,128,共7页Journal of Zhengzhou University:Philosophy and Social Sciences Edition

摘　　要：杜威对“经验”的阐释,直接建构性地影响了伯林特的艺术美学和环境美学思想。杜威通过“一则经验”所恢复的艺术与日常生活之间的连续性,被伯林特用“审美场”加以明晰,“构成艺术的对象”与“经验发生的情境”相互结合到一个统一的经验序列中,传统的“艺术对象论”消弭,“参与美学”为当代艺术作注解。在艺术突破将人隔开的屏障,而与日常生活经验接轨的同时,也与其所处的环境相融合。在经验的节奏中,杜威将艺术扩展到了自然当中。在经验的交互中,伯林特使人通过身体参与到环境中去,艺术经验演化为环境体验。而在伯林特将环境视为涵盖艺术的范畴而建立环境美学时,自然却是其忽略的领域。从经验出发,重审自然美学的特殊性,则为延展环境的纵深度提供了新的方向。Dewey's interpretation of"experience"directly and constructively influenced Berleant's thoughts on artistic aesthetics and environmental aesthetics.Dewey's continuity between art and everyday life,restored through"an experience,"is clarified by Ber⁃leant through the concept of the"aesthetic field".The combination of the"constituent object of art"and the"situation of the occurring experience"is integrated into a unified experiential sequence,eliminating traditional"art object theories",and"aesthetics of participa⁃tory"serves as an annotation for contemporary art.As art breaks through the barriers that separate people and aligns with the experi⁃ences of daily life,it also merges with the environment in which it exists.In the rhythm of experience,Dewey expands art into nature.Through the interaction of experience,Berleant engages people in the environment through their bodies,evolving artistic experience into environmental experience.While Berleant establishes environmental aesthetics by considering the environment as an encompassing cate⁃gory of art,nature is an aesthetic field he neglects.Starting from experience and re-examining the specificity of natural aesthetics pro⁃vides a new direction for extending the depth of the environment.

关 键 词：艺术经验 参与美学 环境美学 自然美学 

分 类 号：B832[哲学宗教—美学]