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直觉作为认识活动的重要环节,在审美经验史上备受关注,其中以柏格森和克罗齐的直觉理论最为典型。柏格森主张在直觉中把握人的自由,克罗齐则更多地注目于艺术审美自身。有趣之处在于,他们的直觉观念都在认识论意义上和审美经验层面主张艺术的独立自足性。作为艺术自律思想的心理学维度,直觉论包孕的主体性特征和自由追求是对康德审美自律思想的回应。对这些问题的厘清有助于重识艺术活动的审美主体要素,反思“审美不是认识,是体验”命题的合法性,更是构建当代艺术理论话语的重要步骤。
As an important part of cognition activity, intuition attracts much attention in the history of aesthetic experience, of which the intuition theory of Bergson and Croce is the most typical. Bergson advocated grasping people’s freedom intuitively, while Crowez focused more on aesthetic art. What is interesting is that their intuitive notions advocate the independence of art in terms of epistemology and aesthetic experience. As a psychology dimension of artistic self-discipline, the subjectivity of intuition and its pursuit of freedom are the responses to Kantian aesthetic self-regulation. The clarification of these questions helps to recognize the aesthetic main elements of artistic activities, reflect on the legitimacy of the proposition that “aesthetic is not recognition, experience,” and is an important step in constructing the theoretical discourse of contemporary art.