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作为现代主义美学最初的理论 ,移情论体现出人们“自下而上”通过实验心理学探明审美心理的一种企图。浮龙·李以康德美学为起点 ,试图证明美不可能是存在于主体之外的事物本性 ,美只是人观察和解释事物时采取的一种主观方式。移情的发生归根结底在于不包含任何客体信息、不存在个体思想感情的普遍化概念 ;正是这种普遍化使得主体的活动被转移到客体继而成为客体的性质 ,即主客合一。移情是知觉在把握客体形状时一种不受干扰、平衡、稳定和持续的过程。进入人的意识并且对人的情感产生影响的是移情活动中生命力所发生的变化。浮龙·李通过生命力的变化以及人对这个变化的意识解释美感 ,因此 ,美感在浮龙·李的移情说中洋溢着对生命力的兴趣和肯定。但是 ,由于无功利前提 ,这个兴趣最后只能落在对人自身肌肉运动的意识上。人们批评移情论把移情的原始动力最终归结为器官的生理活动是损害了美的超越价值。
As the first theory of modernist aesthetics, empathy reflects the attempt of “bottom-up” to prove aesthetic psychology through experimental psychology. Starting from Kant aesthetics, Fulong Lee attempts to prove that beauty can not be the nature of things existing outside the subject. Beauty is only a subjective way of observing and explaining things. The empire occurs in the final analysis does not contain any object information, there is no universal concept of individual thoughts and feelings; it is this universalization makes the subject’s activities were transferred to the object and then become the object of the nature of the subject and the one. Empathy is the process of perceptual unobstructed, balanced, stable, and continuous in grasping the shape of an object. Into the human consciousness and the impact on human emotions is the changes in the vitality of empathy. Float Lee through the changes of vitality and people’s awareness of this change to explain the beauty, so beauty in the empathy of the floating dragon Lee filled with vitality and affirmation. However, due to the non-utilitarian premise, this interest ultimately falls on the awareness of one’s own muscle movements. People criticize empathy as the original driving force of empathy ultimately comes down to the physiological activity of the organ as damaging the transcendental value of beauty.