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越来越多的现象表明了艺术是一种重要的认知符号,苏珊·朗格、鲁道夫·阿恩海姆、纳尔逊·古德曼以及其他人证明了认知符号的多样性及其效用已经扩展至艺术之中。在对舞蹈的认知意义的探讨中,“体验”和“认识”这两个概念分别指涉其认知意义的两个不同方面。以体验的方式理解一件作品要求我们直接通过感官来理解事物,它与通过作为事物符号的或是对事物进行描述的词语来理解这些事物的方式是相对立的。认识是指基于对艺术进行回应所获得知识,这些回应包括艺术批评、艺术史和审美理论,它们使我们能够更加清晰地观察艺术作品的结构和风格,并且为我们展示出艺术品所具有的更深远的意义。
More and more phenomena indicate that art is an important cognitive symbol, Susan Lange, Rudolf Arnheim, Nelson Goodman, and others demonstrate the diversity of cognitive symbols and their Utility has been extended to art. In the discussion of the cognitive significance of dance, the two concepts of “experience” and “cognition” respectively refer to two different aspects of their cognitive significance. Understanding a piece of work in an experiential manner requires that we understand things directly through the senses, in contrast to the way we understand these things through words that are things or describe things. Awareness refers to knowledge gained from the response to art, including artistic criticism, art history and aesthetic theory, which allow us to observe more clearly the structure and style of a work of art and to show us the more Far-reaching significance.