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艺术的意向性与非意向性是穆卡若夫斯基思想发展后期的一对核心概念,前者直接源于现象学哲学,后者则是穆氏在前者基础上发展出的一个新概念。穆氏通过创造性地赋予这对概念以新的内涵,来对艺术作品本体进行了全新阐释。概而言之,艺术的意向性是艺术作品语义上的一种动态的统一性,而非意向性则是对这种统一性的一种抵制。前者根源于艺术作品的符号属性,后者则由艺术作品的“物”的属性所赋予。艺术作品之所以具有魅力在于它既是符号,又是“物”。
Intentionality and non-intentionality of art are the core concepts of Mukarovski’s thought later in life. The former is directly derived from phenomenological philosophy and the latter is a new concept developed by Mu’s on the basis of the former. By creatively giving the concept a new meaning, Mushi conducted a new interpretation of the body of the work of art. In general, intentionality of art is a dynamic unity of the semantic meaning of works of art, whereas non-intentionality is a boycott of this unity. The former is rooted in the symbolic properties of the artwork, while the latter is given by the “” property of the artwork. The reason why the work of art is attractive is that it is both a symbol and a “thing.”