克罗齐“形象—情感”的审美表现理论探析  

On “Image-Affection” Aesthetic Expression Theory of Croce

作　　者：杨君武[1] 罗常军[1] 

机构地区：[1]湖南师范大学公共管理学院

出　　处：《湖南师范大学社会科学学报》2013年第2期42-48,共7页Journal of Social Science of Hunan Normal University

基　　金：湖南省教育厅科学研究项目"20世纪西方表现主义美学研究"(11B085)

摘　　要：克罗齐认为,形象与情感是艺术的两个重要因素,艺术既不单纯是形象,也不单纯是情感,也不能说是二者的总合,而是形象和情感的先验综合的统一,即"形象—情感"的审美表现。根据"形象—情感"理论,克罗齐认为,艺术与所有其他精神生产形式相比较,具有非逻辑性、纯粹形象性、具体情感性和非实用性等特征,虽然艺术不同于其他精神活动,但却受其他范畴的制约,同时也制约其他范畴。克罗齐提出"形象—情感"理论,一方面更加突出了艺术的表现本质,另一方面不同程度地对其早期艺术不可传达和不可分类观念作了有益的修正。Croce holds that image and affection are two important factors of art. Art is not simply an image or affection, neither is the combination of the two. It is the transcendental and comprehensive unity of image and affection, that is, the aesthetic expression of ＂image-affection＂ . According to Croce＇s ＂image-affection＂ theory, art has the following attributes： non-logic, pure vivid; specific emotional and non-practical compared with other spiritual production forms. Although art is different from other spiritual activities, it is confined by other categories which on the contrary restrict other categories. The ＂image-affection＂ theory highlights the expressive nature of art more on one hand; and on the other hand makes some useful amendments to his earlier views on art＇s intransitivity and non-classification.

关 键 词：克罗齐 艺术 形象 情感 表现 

分 类 号：B82-0[哲学宗教—伦理学]