超越主观论美学和客观论美学——盖格尔现象学美学的学科定位  

Beyond the Subjective Aesthetics and bjective Aesthetics——The Subject Orientation of Moritz Geiger's Phenomenological Aesthetics

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：《华侨大学学报（哲学社会科学版）》2014年第2期171-176,共6页Journal of Huaqiao University(Philosophy & Social Sciences)

基　　金：国家社会科学基金后期资助项目"审美形而上学研究"(13FZW032)

摘　　要：德国现象学美学家盖格尔在美学研究方法上,超越"自上而下"与"自下而上"方法之争;在美学学科定位上,将"审美价值"作为美学学科区别于其他学科的标志;在艺术本质问题上,主张艺术是一种存在体验;在艺术功能的理解上,认为艺术能够提升我们至生命的顶点。盖格尔的美学兼有主观论美学和客观论美学之长,却又超越了二者的片面性。On the aesthetics research methods, Moritz Geiger, a German phenomenology esthetician, transcends the controversy of metaphysical and physical method. On the aesthetic subject orientation, he put the ＂ aesthetic value＂ as a symbol of aesthetics unlike other disciplines. On the issue of artistic nature, he claims that art is an experience. On the function of art, he thinks that art can improve us to the peak of life. His aesthetic theory combines advantages of subjective aesthetics and objective aesthetics and stands above the one-sided view.

关 键 词：莫里茨·盖格尔 现象学美学 审美价值 审美意味 

分 类 号：B830[哲学宗教—美学] I01[文学—文学理论]