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在对前人以及同时代美学家比尔兹利、古德曼、沃尔特斯托夫等人有关审美经验的理论作出批评性阐释的基础上,迪基形成了一种调和的经验观。这种不走极端的经验观所包含的内容更为丰富,也更符合我们有关艺术品经验的真实情况,因而让迪基的评价理论具有更广泛的言说效力;这种调和式的经验观,为我们在分析美学破除形而上学神话的过程中,看到一种自下而上的重建美学根基的可能性,而其与传统美学之间的密切联系,也为我们反思美学、艺术、经验、认知、价值等问题提供了可资借鉴的思想资源。
Based on the critique of predecessors and contemporary aestheticians Beardsley, Goodman, Walterstorff, and others on the theory of aesthetic experience, Dicky formed a reconciled experience. This not to extremist experience contains richer content, but also more in line with our experience on the art of the real situation, so that Diji’s evaluation theory has a broader speech and the effectiveness of this harmonic experience, In our analysis of the myth of metaphysics of aesthetics, we see a possibility of reconstructing the aesthetic foundation from the bottom up, and its close relationship with the traditional aesthetics, and also reflect on aesthetics, art, experience, recognition Knowledge, value and other issues provide a reference for the ideological resources.