【作者】 宋艳霞；

【导师】 程相占；

【作者基本信息】 山东大学 ， 文艺学， 2014， 博士

【摘要】 从18世纪开始,美学一直被认为是对于艺术和自然之美的研究,尽管20世纪初期以来,艺术类型、艺术风格以及艺术理论历经变化,艺术范围不断扩展,自然这一概念也经历了彻底的改变,后现代主义对于传统理论原则的抛弃也为美学的发展扫清了很多障碍。然而,美学作为艺术哲学的分析美学的传统影响依然强大,从目前的发展趋势来看,在为重建基于艺术实践和欣赏体验的审美理论的努力中,美学学科的成效甚微。美国学者阿诺德·伯林特积极寻求构建一种基于审美体验的涵盖范围广泛的审美理论,以突破传统美学的理论困境。源于现象学与实用主义的哲学理论,基于一种非二元论的连续性的审美视野,伯林特从审美体验出发,围绕审美场、审美交融、审美感知力等关键词,建立起一种独特的审美理论体系,使欣赏体验中的审美交融模式突破了康德的审美静观模式,美学因而回归了作为体验或感知学科的本源意义,而他所阐释的语境美学和体验美学也将美学与艺术、自然、环境、社会等各个审美维度在一个极具包容性的审美交融理论中完美地结合了起来,形成了他的丰富的艺术美学、环境美学和社会美学思想,而审美交融理论最终成就了伯林特新美学的理论构想,将会成为美学历史发展中一个新的转折点。本研究立足于哲学与美学学科发展的整体理论语境,力图系统全面地论述伯林特的审美理论及其美学思想。通过对其审美理论的形成背景、哲学根源、建构过程、内涵与特征、发展脉络、理论运用及其意义的考察与分析,重点阐述伯林特的审美场、审美交融与审美感知力三大审美理论形成、发展到成熟的过程及其在艺术、自然、环境与社会的具体审美情境中的运用,剖析其审美理论的特质及美学思想的内涵,揭示伯林特的审美理论如何以及在何种程度上突破了传统美学的局限,引领了美学研究中的交融性、语境性、连续性及身体化等等的转向,并引导人们从宏观的角度反思美学发展的历史与现状,走向一种超越艺术的美学和一个人性化的审美世界。全文包括导论、正文五章及结语,共七个部分。导论首先从介绍伯林特的履历入手,简述他的生平、学术生涯、著作及所取得的荣誉,然后论述其审美理论的发展历程及国内外研究现状,勾勒其理论框架和发展脉络,阐明其理论在世界哲学与美学研究领域中的影响力,最后介绍本论文的研究方法、研究目的、研究意义及创新性等。作为当代美学尤其是环境美学领域的领军人物,伯林特倾尽毕生才华,苦心孤诣,用了将近半个世纪的时间来建构他的兼容并包的审美理论,并最终初步改造了美学学科,值得进行个案研究。本文旨在结合前人的研究成果,力求全方位地、客观地、系统地对伯林特的审美理论进行有效的梳理,展示其理论价值,定位其理论成就,以促进美学的进步和人类世界的审美化进程。第一章论述伯林特审美理论的哲学根源,追溯其理论起源,以探求其美学思想发展的连续性。胡塞尔现象学的还原以悬置一切假设与先见为中心,使伯林特回归到对于美学学科的本源意义的探索,追寻美学的体验与知觉特征,因而成为他所有审美理论的哲学基础。梅洛-庞蒂的身体现象学直接引领了伯林特美学身体化的转向,使其创立了语境性的身体观及环境体验的语境模式；伯林特也借鉴了梅洛-庞蒂的知觉合作理论,作为他交融美学的中心特征。而杜夫海纳对于感官经验的强调使伯林特认识到体验的重要性,成为他审美理论的体验基础。杜威的实用主义一元论哲学思想对伯林特的影响更是毋容置疑的,人是环境中的参与者的理念推动伯林特提出整体连续性的环境观,因而,杜威的连续性哲学思想将审美、艺术与日常经验相结合,成为伯林特环境美学的又一哲学来源。总之,伯林特借鉴和吸收了现象学方法论和以实践为中心的实用主义的理论精华,最终集中体现在他对审美的感知体验的强调上,并以此为核心建构了自己的审美理论体系。第二章集中探讨伯林特于20世纪70年代建立起来的审美场理论,挖掘现象学在审美场理论中的运用,探析他的审美体验现象学的形成过程。审美场是一个复杂的动态的审美体验情境,描述了欣赏体验中互相依存的四大要素：艺术对象、感知者、艺术家和表演者,也包含生物的、心理的、技术的、历史的、社会的以及文化的调节因素,这诸多因素共同构成一个体验的“审美交往”的审美情境。审美场理论是伯林特早期的学术成果,也是一种崭新的美学观念,成为他以后审美理论发展的基石。在审美场的体验情境中,伯林特用一种现象学的方法来描述审美体验,通过探讨环境中的三种审美体验模式,阐释了他的环境的现象学美学。他也试图将作为方法的现象学和作为实践的实用主义与美学融合在一起,这几乎改变了通常的美学研究进程,充分体现了他的审美交融的理论观点,不仅应用于审美理论之中,也适用于美学研究方法,可以作为一个普遍的理论来应用。第三章主要探讨伯林特90年代形成的审美交融理论以及他丰富的艺术美学和环境美学思想。审美无利害性基于传统的二元主义,将美学囿于远距离的、静观的审美欣赏模式,排除了体验中的身体维度和社会维度,从而不恰当地引导了审美欣赏,阻碍了美学的发展。在对审美无利害性进行批判反思的基础上,在现代艺术对于体验的连续性的吁求中,伯林特提出了著名的审美交融观。审美交融描述的是审美体验的特征,是完全的联觉融合,要求欣赏者多感官的全身心的投入。审美交融将感知者和审美对象融为一个知觉的统一体,展示了至少三种相关的特征：连续性、知觉合作与参与性,将对艺术、自然、环境和社会的审美欣赏融为一体,代替了无利害的静观欣赏模式,突破了二百多年来美学作为一门艺术哲学的理论局限,可以说是对美学学科的重铸。在音乐、绘画、舞蹈等艺术多维的审美情境中,伯林特通过清晰地展示审美交融的特征而诠释了他的艺术美学思想。而审美交融的观点在他的环境美学中体现得更为鲜明,成为他的环境观和环境美学的核心概念,因此,在伯林特的理论阐释中,环境成为感知者与审美情境的融合,人与环境成为体验的连续的统一体,环境美学也成为研究环境中的审美体验问题,一切二元论的分离都消融在连续性的体验之中,这就使他的环境美学可以触及环境中的所有不同领域,体现了伯林特美学的广泛性与流动性的特点。第四章转向对伯林特近来的哲学维度——审美感知力和社会美学的研究。在审美的历史语境中,“美”被认为是静观审美对象时的愉悦感,只有美的艺术和自然才能进入美学的领域。伯林特力图突破这种传统的审美观,认为“美”具有丰富的含义,包含不同形式的多样价值的审美满足感,而“美”的核心意义应该被理解为一种肯定的审美价值,“美”不再是一种审美对象的特征,而更是一种审美情境的品质,这样,“美”就成为语境性的了。“审美”是一种感官体验的模式或能力,审美的力量就在于它独特的感知体验的能力,既包含肯定的也包含否定的审美体验,而且,所有的感知体验中都存在着审美的维度,审美是无处不在的。伯林特对于美与审美的阐释表现了人类世界的审美转变,使审美由过去只关注美的艺术拓展至如今包含艺术、自然、环境及人类社会生活在内的所有领域,使审美成为美学的核心概念。在探求审美知觉和审美体验的过程中,审美感知力的重要性凸显出来,伯林特将审美感知力界定为一种敏锐的富含鉴别力的知觉意识,而现代艺术调动了我们的触觉和运动感觉的审美感知力,使审美知觉超越了传统的视觉和听觉,从而大大拓展了审美感知力的范围,也使伯林特由对环境美学的研究转向对社会美学的探求,试图挖掘人类关系中的审美维度,探析文化、政治与社会理论中的审美观点与审美价值。第五章从伯林特审美理论的贡献与缺憾及存在的争议着手,以期客观公正地对其审美理论进行评价。伯林特基于体验的审美理论使审美的范围超越了艺术和自然从而包含了日常生活和社会关系等各个领域,这极大地拓展了审美活动的边界和美学研究的范围。与此同时,伯林特将体验作为审美的中心,使美学回归了其词源学的本意,并且提出了审美交融的欣赏模式,用“交融”取代“无利害性”,用“连续性”取代分离,标志着一种新美学的诞生。总之,伯林特试图发展一种关于审美体验的普遍理论,为我们探求美学的发展提供了一种连续性和描述性的方法,因此,他对于美学的贡献不仅仅如他所涉及的宽泛的主题这么简单,也体现在他对于美学这一学科本身所具有的深刻洞察力上以及他对于构建和谐社会和完美世界所付出的努力上。然而,伯林特审美理论中对于审美知觉的强调弱化了情感、想象和知识在审美体验中的重要作用,学界对他的审美交融理论能否作为普遍的审美理论来运用也存在争议,因此,伯林特的审美理论还存在提升的空间。结语部分探讨伯林特的美学如何远远超越了艺术,阐明他的审美理论突破传统理论的历史必然性,并指出了他的美学思想与审美理论中所存在的主要问题以及他为解决这些问题所作的一些设想。伯林特所揭示的现代艺术连续性与语境性的特征,使艺术可以与自然环境、都市环境以及文化环境融为一体,从而使我们有望生活在一个艺术、自然、环境、文化与社会完美融合的审美世界中,他的美学构想及其探索精神为实现我们审美地生活的目标提供了继续前行的动力,为美学的未来发展指明了方向。更多还原

【Abstract】 Since eighteenth Century, aesthetics has been regarded as a study to the beauty of art and of nature. Although from the beginning of the twentieth Century, the type of art, the artistic style and art theories have experienced changes, the scope of art has expanded increasingly, nature has undergone radical changes, post modernism has also cleared away the obstacles for the development of aesthetics as an abandon of the traditional theoretical principles, however, traditional aesthetics as the philosophy of art still contains strong effects. From the view of the current development trend, during our effort for the reconstruction of aesthetic theories based on the artistic practice and appreciative experience, the discipline of aesthetics has got little achievements.In the theoretical dilemma of aesthetics’ unable to break through the traditional philosophy of art, American scholar Arnold Berleant goes beyond the limitations of traditional aesthetics in view of the construction of aesthetic engagement. Based on an aesthetic vision of beyond dualism, starting from the angle of aesthetic experience, Berleant establishes an unique system of aesthetic theories centering on aesthetic field, aesthetic engagement and aesthetic sensibility. Thus the mode of aesthetic engagement in appreciative experience replaces Kant’s mode of aesthetic contemplation which is a revolution in the field of contemporary aesthetics. Aesthetics therefore transforms from a discipline for the study of the beauty of art and nature to that of aesthetic experience or sensibility which returns it to the original meaning of etymology——"perception by the senses". Hence, aesthetics combines all of the aesthetic situations such as art, nature, environment and society perfectly in an inclusive theory of aesthetic engagement through his interpretation of contextual aesthetics and experiential aesthetics. It may be considered that aesthetic engagement finally helped to shape Berleant’s ideal theoretical achievement of a new aesthetics which will become a new turning point in the development history of aesthetics.Established in the whole theoretical context for the development of the discipline of aesthetics, this paper strives to discuss Berleant’s aesthetic theories and aesthetic ideas systematically and comprehensively. Through the investigation and analysis to the forming background, philosophical origin, construction process, meanings and features, application and significance of his aesthetic theories, I will focus on the developing process of Berleant’s three aesthetic theories——aesthetic field, aesthetic engagement and aesthetic sensibility from stage of emergence and growth to that of mature and their application in the specific aesthetic situations of art, nature, environment as well as society, and profoundly analyze the characteristics of his aesthetic theories and the connotation of his aesthetic ideas in order to reveal how and to what extent Berleant’s aesthetic theories break through the traditional aesthetic shackles and lead a turning to aesthetic engagement, contextuality, continuity and embodiment in aesthetic research and also guide people a macroscopic reflection of aesthetic history and current situations and thus move to an aesthetics beyond art and a humanized aesthetic world.The paper includes altogether seven parts:the introduction, the main body of five chapters and the conclusion.Starting from the biographical presentation of Berleant, the introduction involves his life, his academic career, his works and the honors he achieved, and then discusses the development history and the research current status of his aesthetic theories at home and abroad in order to achieve a clear intuitive description, outline his theoretical framework, expound his influence in the philosophical and aesthetic fields of the world, and finally point out the research ideas, research methods, research purposes, research meanings and research innovation of this paper. As a leading figure in contemporary aesthetics especially in the field of environmental aesthetics, Berleant makes every effort to construct his inclusive aesthetic theories within nearly half a century of time and ultimately recasts the aesthetics discipline. This is really worthy of study. Combined with the previous studies of my predecessors and my own understanding and interpretation, I wish to make a comprehensive, objective and systemic research of his aesthetic theories and to reveal its theoretical values and achievements in order that it can make some improvements for the development of aesthetics.The first chapter discusses the philosophical roots of Berleant’s aesthetic theories for tracing back to the theoretical origin and exploring the historical continuity of aesthetics. Husserl’s phenomenological reduction centers on suspension of all the assumptions and makes Berleant return to the original meaning of aesthetics in pursuit of aesthetic experience and perception which becomes the philosophical basis of all of his aesthetic theories; Merleau-Ponty’s somatic phenomenology directly leads to a turning for Berleant’s somatic aesthetics and helps him establish the contextual view of body and the contextual mode of environment experience. Berleant also borrows from Merleau-Ponty the theory of perception integration as center features of his engagement aesthetics; Dufrenne’s emphasis on sensory experience makes Berleant aware of the importance of experience and becomes experiential basis of his aesthetic theories; The effect of Dewey’s philosophy of pragmatism to Berleant is beyond doubt, and the idea that human becomes participants in the environment makes Berleant put forward the conception of overall continuity of environment. So we can say, the continuity of Dewey’s philosophy combines aesthetics, art and everyday experience which becomes another philosophical source of Berleant’s environmental aesthetics. In short, Berleant makes up his own system of aesthetic theories by connecting phenomenological method and pragmatism with practice as the center and finally concentrating on the aesthetic perception.Berleant’s theory of aesthetic field formed in the seventies of20th Century will be investigated in chapter two for digging out its application of phenomenology in aesthetic field and for exploring the developing process of his phenomenology of aesthetic experience. The theory of aesthetic field is his early academic achievement and also becomes a cornerstone of his later aesthetic theories. Aesthetic field is a complex dynamic situation of aesthetic experience illustrating the the four elements combined together in appreciative experience:art object, perceiver, artist and performer, containing biological, psychological, technical, historical, social and cultural factors which constitute an aesthetic situation of "aesthetic transaction". Aesthetic field is also a kind of perceptual field and is a comprehensive sensory response to resort to all human senses. This is a brand-new aesthetic idea and is based on empirical mode of aesthetics. Berleant makes a phenomenological description for aesthetic experience and explains his phenomenological aesthetics of environment through three kinds of aesthetic experience modes in the environment. He attempts to blend aesthetics well together with phenomenology as method and pragmatism as practice and this idea nearly changes the general research process of philosophy and fully embodies an idea that his theory of aesthetic engagement not only applies to the aesthetic theory but also to the aesthetics research methods which can be used as an general theory.The third chapter mainly concerns Berleant’s theory of aesthetic engagement formed in90’s as well as his rich ideas in art aesthetics and environmental aesthetics. Based on the traditional philosophical dualism, Disinterestedness limits aesthetics in an appreciative mode of distance and contemplation and neglects the physical and social dimensions of experience excessively, which guides the aesthetic appreciation improperly and prevents the development of aesthetics. On basis of the criticism of disinterestedness and in the appeal of modern art for the continuity of experience as well as in Berleant’s effective interpretation for the various categories of art perception, he puts forward the famous participatory concept of aesthetic engagement between appreciator and art object. Aesthetic engagement is to describe the characteristics of the aesthetic experience and is a kind of experience of appreciative engagement with multisensory involvement of the appreciator. Blending the perceiver and aesthetic object into one unity, aesthetic engagement exhibits at least three related characteristics:continuity, perceptual integration and participation. It combines the appreciation of art, nature, environment and society together and replaces disinterested appreciative mode of contemplation and breaks through the theoretical limitations of aesthetics as an art philosophy for200years and can be regarded as a recasting to the aesthetics discipline. In the various aesthetic situations of art such as music, painting and dance etc, Berleant explains his ideology on art aesthetics through a clear exhibition of the features of aesthetic engagement which is a more effective embodiment in his environmental aesthetics and becomes the core concept of his view of environment and environmental aesthetics. And thus environment comes to be a fusion of perceiver and environmental situations, man and environment be a continuous unity of experience, environmental aesthetics be a study of aesthetic experience in environment, thus, all the separations of dualism melt into the continuity of experience, so that Berleant’s environmental aesthetics can be elaborated in all different areas in the environment and embodies the characteristics of universality and fluidity of Berleant’s aesthetics.Chapter four turns to the study of sensibility and social aesthetics Berleant recently concerns. In the aesthetic context of history, the beauty of art and nature is higher than practical, pragmatic and functional art so that only the beauty of art and nature could enter into the field of aesthetics. Berleant tries to breakthrough the traditional aesthetic view and regards "beauty" as positive aesthetic values and then the concept of "beauty" changes from the feature of aesthetic objects to the quality of aesthetic situations. There is no ontology of beauty but just epistemology of beauty. Because there is an aesthetic dimension in all perceptual experience which is positive as well as negative, so, the aesthetic is omnipresent. Berleant expands the meanings of beauty and the aesthetic by this re-interpretation of them and extends the aesthetic from past only paying attention to beauty of art to now all areas including art, nature, environment and human social life and makes the aesthetic become the core concept of aesthetics. In the process of exploring aesthetic perception and aesthetic experience, the importance of sensibility becomes prominent. Berleant defines sensibility as an acute perceptual consciousness and modern art stimulates our sensibility of tactile and kinaesthesis, which transcends the traditional auditory and visual perception and greatly expands the scope of sensibility and also encourages Berleant make a change from a study of environmental aesthetics to that of the social aesthetics by trying to excavate the aesthetic dimensions in human relations and explore the aesthetic ideas and aesthetic values in cultural, political and social theories.The fifth chapter starts from an analysis of Berleant’s contribution and shortcomings of his aesthetic theories in order to make an objective and fair evaluation of his aesthetic theories. Berleant’s aesthetic theories based on experience make aesthetic realm beyond art and nature to include all areas of daily life and social relations, which greatly expands the boundary of aesthetic activities and the scope of aesthetic study. At the same time, Berleant places experience in the center of the aesthetic which makes aesthetics a discipline of aesthetic experience and his aesthetics of engagement marks the birth of a new aesthetics with "engagement" as a replacement of "disinterestedness" and with "continuity" as a replacement of separation. In sum, Berleant pursues a general theory of aesthetic experience, but neither deny the diversity of individual experience which provides a continuous aesthetic vision for our exploration of the development of aesthetics theories. However, Berleant’s emphasis on aesthetic perception in his theories weakens the important role imagination, emotion and knowledge played in aesthetic experience and there still exists a question whether his theory of aesthetic engagement could be improved to be a general theory, so his aesthetic theories still have a development space to be promoted.The conclusion part inquires of how far Berleant’s aesthetics goes beyond the arts and clarifies the historical necessity of his aesthetic theories as a breakthrough of the traditional theory and also points out the main problems in his aesthetic ideas and aesthetic theories and even his assumptions for solving these problems. The continuous and contextual features of modern art Berleant revealed makes it possible for art engages into natural, urban and cultural environment so that we may live in an artistic, natural, environmental, cultural and social unity of aesthetic world. The aesthetic conception of Berleant and his spirit of exploration provide for us the powers of moving forward for the realization of our aesthetic life goal and hence lead to a new direction for the future development of aesthetics.更多还原