从“静观”到“介入”——论环境美学的“参与”维度  

From “Contemplation” to “Intervention”——The “Participation” Dimension of Environmental Aesthetics

作　　者：孟凡生 MENG Fansheng(Dept.of Chinese,QuFu Normal University,Qufu 273165,China)

机构地区：[1]曲阜师范大学文学院,山东曲阜273165

出　　处：《中北大学学报（社会科学版）》2018年第5期61-67,共7页Journal of North University of China：Social Science Edition

摘　　要：现代美学推崇无利害的审美静观模式,"静观""无利害"和"距离"等内涵不仅是美学的应有之义,而且还垄断着审美的合法性判定;环境美学则通过对"环境"概念的扩展挑战了现代美学原则的排他性统治,它从环境本身出发使得我们对美学、艺术的理解转向一种具有更多参与性以及经验完整性的审美模式,由此给予"审美参与性"和"审美相关性"在审美上的合法性地位,从而使得美学的发展更加多元化。Modern aesthetics adheres to the mode of aesthetic contemplation with disinterestedness.＂Contemplation＂,＂disinterestedness＂and＂distance＂are not only the concepts inherent of aesthetics,but also the legitimate standards of aesthetic judgment.Through the extension of the concept of＂environment＂,environmental aesthetics challenges the dominance of modern aesthetic principles.From the environment itself,it shifts our understandings of aesthetics and arts to a kind of aesthetic mode with more participation and experience.As a result,it helps to establish the legal status of＂aesthetic participation＂and＂aesthetic relevance＂in aesthetics,through which the development of aesthetics becomes more diversified.

关 键 词：环境美学 审美参与 审美相关性 

分 类 号：B834.2[哲学宗教—美学]