杜夫海纳的审美形而上学  

The Aesthetic Metaphysics of Dufrenne

作　　者：李晓林[1] 

机构地区：[1]厦门大学中文系,福建厦门361005

出　　处：《厦门大学学报（哲学社会科学版）》2012年第1期71-77,共7页Journal of Xiamen University(A Bimonthly for Studies in Arts & Social Sciences)

基　　金：国家社科基金项目"现象学美学史"(11BZX084)

摘　　要：作为现象学美学发展的顶峰,杜夫海纳的美学经历了从现象学到存在论的转向。这一转向体现在艺术的审美经验分析,即重建艺术与真理的关联;体现在自然的审美经验分析,即认为自然与人的统一并非源于审美的虚幻性,而是有其存在论的深层依据。杜夫海纳上述思想不仅有重要的美学意义,而且对于哲学甚至伦理学都有一定的启示。The aesthetics of Dufrenne, as the summit of phenomenological aesthetics, has diverted from phenomenology to ontology. This turning on the one hand embodies the reconstructing of the association between art and the truth in the aesthetic empirical analysis of art. On the other hand in the aesthetic empirical analysis of nature： it is suggested that the integration of nature with human beings originates not from the illusion of the aesthetics, but has the deep basis of ontology. The above thoughts of Dufrenne not only have significance on aesthetics, but also have inspiration upon philosophy, even ethics.

关 键 词：杜夫海纳 审美形而上学 情感先验 现象学美学 

分 类 号：B83-06[哲学宗教—美学]