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个人与鉴赏对象之間的关系,曾由布劳赫加以研究,他称这一关系为“心理的距离”。艺术家和他的經驗保持了距离,观众还必須給自己造成第二次的距离。布劳赫承认了不同程度的距离,但本文作者进一步说,并没有完全“正确的”距离,常常因人、因物、因条件而异。为了使距离的概念成为現实主义的,而又合于实际的应用,必須从头到尾相对地说,而不能绝对地说。審美鉴赏虽然是有距离的,与利害无关的,然而,它却不是偶然的。个别的人把个别的现象判断为美,而人的本身却并不认識美的本身。艺术家必須和那燃起他的想象的經驗,保持距离。距离的大小决定于經驗的性质和强度,以及艺术家和观众的智力。布劳赫说,艺术家只有在超脱切身經驗的条件下,才能在艺术上形成一种强烈的切身经验。这一说法,必須和他下面的話联起来看:“在欣赏和创作过程中,最需要的是把距离减少到最低限度而没有消失。”現在把他的话作这样的修正:在创作中,最需要的是创造一种概念的形式;在说明中,最需要的是表現出这一概念的形式;在欣赏中,则是要观赏它。如果我們能够达到的距离,接近于艺术家本人的;如果我們最合适的距离,类似于他的;那么,我們就可以办到那最需要的事——把作品当成概念的形式来享受。
The relationship between the individual and the object of appreciation was studied by Brahms, who described the relationship as “psychological distance.” The artist keeps a distance with his experience, and the audience must also give himself a second distance. Brauch admitted distance to varying degrees, but the author further states that there is no complete “right” distance, often due to people and things, depending on the conditions. In order to make the concept of distance realist, but also suitable for practical application, it must be relatively speaking from beginning to end, and can not be absolutely said. Although aesthetic appreciation is distanced, and has nothing to do with the interests, however, it is not accidental. Individuals judge individual phenomena as beauty, but human beings do not know beauty itself. The artist must keep his distance from the experience that ignited his imagination. The size of the distance depends on the nature and intensity of experience and the intellectual power of the artist and audience. Brauch said that artists can form an intensely personal experience in art only if they are transcendental. This statement must be read in conjunction with the following remarks: “In the process of appreciation and creation, what we need most is to minimize the distance but not to disappear.” Now he revises his words as follows: In the process of creation, What is needed is a form of creating a concept; what is most needed in the explanation is a form that shows the concept; in appreciation, it is to be watched. If the distance we can reach is close to that of the artist himself, if our most suitable distance is similar to his, then we can do what we need most - to enjoy the work as a concept.