从“连续性”形而上学到“环境”审美——论阿诺德·伯林特环境美学中“连续性”思想的逻辑演进  

From Metaphysics of“Continuity”to the Aesthetic of“Environment”:A Study on the Logic of Continuity in Arnold Berleant’s Environmental Aesthetics

作　　者：冯佳音 Feng Jiayin

机构地区：[1]山东大学文艺美学研究中心

出　　处：《中国美学研究》2022年第1期306-320,共15页

基　　金：国家社科基金重大项目“生态美学文献整理与研究”(16ZDA111)阶段性成果

摘　　要：在伯林特的“美学原论”,即“审美场”理论中,连续性是审美过程中各种要素相互作用的基本原则,进而成为审美经验统一体最终形成的基本原则,在这里连续性发端于伯林特在现象学的基础上对艺术审美而不是自然审美的探讨。进而,在其试图建构的能同时解释传统艺术与当代艺术的参与美学中,连续性与参与性成为这一美学的两大基本原理。因而在环境美学中,不同于绝大多数西方环境美学家对形而上学的排斥,伯林特将连续性上升到了形而上学的高度,并坦言连续性正日益成为其思考的基础。因此,他以一种自上而下的方式,从连续性形而上学到环境审美的“参与模式”,构建了其独特的环境审美理论。In Arnold Berleant’s“original aesthetics”:the aesthetic field,continuity is the basic principle of all kinds of elements interacting with each other in the aesthetic process and the basic principle of being a unity of aesthetic experience.Here,on the basis of phenomenology,continuity is original from the discussion which focuses on the aesthetic of art instead of nature.Then,he tries to construct the aesthetics of engagement which can explain both traditional and modern arts.So continuity and participation become its basic principle.As a result,when most of the theorists give up the metaphysics in the aesthetics of environment,Berleant still holds the metaphysics of continuity.He declares that continuity is becoming the foundation of his thinking.Therefore,from metaphysics of continuity to the“engagement model”of environmental aesthetic,he constructs an unusual theory in a top-down way.

关 键 词：连续性形而上学 审美场 环境审美 

分 类 号：B834.2[哲学宗教—美学]