苏珊·朗格的艺术哲学:从认识论向本体论的转换  

Susanne K. Langer's Artistic Philosophy:Change from Epistemology to Ontology

作　　者：陈静[1] 

机构地区：[1]武汉大学哲学学院,湖北武汉430072

出　　处：《武汉理工大学学报（社会科学版）》2008年第2期175-178,共4页Journal of Wuhan University of Technology:Social Sciences Edition

摘　　要：从苏珊.朗格与卡西尔哲学思想的差异入手,揭示了苏珊.朗格如何超越卡西尔符号哲学的认识论框架,实现艺术哲学从认识论向本体论维度转换的思路历程。苏珊.朗格通过考察人类符号活动,发现表现性符号和推理性符号都具有抽象构形的基本功能,并且都对建构人类文化发挥了举足轻重的作用。苏珊.朗格揭示了艺术体现了人的生命存在的创造本性,它把人类内在的主观精神世界转变成可以被感知的外在表现形式,艺术对人类生命存在的肯定和确证,使之禀赋了本体论的深刻内涵。The Artistic philosophy of Susanne K. Langer surmounted the epistemological frame of E. Cassirer＇s Symbolic philosophy and opened the door of symbolic aesthetics. People usually defined their ideas as ＂Cassire Langer＇s symbolic aesthetics＂. Different from this kind of research road, this article discloses how she surmounted E. Cassirer＇s epistemological frame, establishes the ontological status of art and changes the artistic philosophy from epistemology to ontology according to the difference between Susanne K. Langer and E. Cassirer. There are two steps for her to establish the ontological status. First of all, through investigating human symbols＇ development and the primitive function of symbolic activities, Susanne K. Langer proved that the presentational symbol and the discursive symbol had the equally important status. Secondly, she regarded art as the reflection of human inherent life and probed into human＇s inherent life. Art corresponded to human＇s inherent subjective world and turned human subjective experience into an external form that can be perceived.

关 键 词：符号 艺术 本体论 生命存在 

分 类 号：J0-02[艺术—艺术理论]