【作者】 杨文臣；

【导师】 曾繁仁；

【作者基本信息】 山东大学 ， 文艺学， 2010， 博士

【摘要】 20世纪60年代,西方环境美学诞生并迅速发展起来,几十年来吸引了美国、加拿大、英国、芬兰等许多国家的研究者参与其中,成为当代西方美学的一个主要生长点。环境美学的兴起既是出于对不断加深的环境危机的应对,也是美学学科拓展和变革自身的需要。环境美学家们对传统美学中的人类中心主义进行了深刻的反思,批判了作为“艺术哲学”的分析美学,将美学疆域扩展到艺术、自然、乡村、城市等人类所有感知领域,并将生态学和环境伦理学视野引入到美学中,对美学基本理念和美学范式进行了变革。人与自然、艺术与环境、审美与生活、美学与伦理之间的关系得到广泛而深入的探讨；美学也开始在景观评估、环境立法以及城市规划、环境设计等应用领域发挥越来越重要的作用。近年来,西方环境美学加快了在我国的传播步伐,卡尔松、伯林特、瑟帕玛等环境美学家的名字开始为人所熟知,和环境美学有着相同的使命和相近的研究领域的中国生态美学也频频展开与西方环境美学的交流和对话。不过,由于环境美学受我们关注较晚,重视的程度不够,从事研究的力量不足,加之环境美学所涉领域的广泛和理论构成的复杂,增加了我们对其进行把握的难度,目前我们对西方环境美学的研究还很不充分。因而,本文以西方环境美学为研究对象,力图对其展开系统、深入的研究,为我国的生态美学建设提供理论资源和参照,从而为我国当代美学发展以及生态文明建设尽绵薄之力。全文包括导论、正文五章、结语,共七个部分。导言介绍环境美学兴起的背景、意义,环境美学与自然美学、景观美学、城市美学等概念之间的关系,环境美学的研究现状及本文的研究思路。近代以来,人类不断增强的主体力量和人类中心主义价值观相结合导致的环境不断恶化是环境美学兴起的现实背景；20世纪中期统治英美美学界的分析美学将美学狭隘化为“艺术哲学”,失去了同广大民众的现实生活之间的关联,美学面临变革和重构,这是环境美学兴起的学科背景。担负着双重使命的环境美学几十年来取得了丰硕的成果,但仍处于发展阶段,这也意味着环境美学具有广阔的发展前景和巨大的发展空间。研究环境美学,关注环境美学的发展,对于我国的生态美学和生态文明的建设都具有重要意义。第一章梳理和探讨西方传统的自然美学。对于作为其历史渊源的传统自然美学,环境美学既有继承也有批判。对于康德的自然美学、如画性美学、浪漫主义自然美学三种影响巨大的自然美学理论,环境美学主要采取了批判的态度。康德的自然美学从根本上说不过是人的主体能力的确证,美是德性的象征,崇高也只针对理性的理念。如画性美学只关注优美的自然风景,忽略了沼泽、湿地等不具有优美景致的自然类型,也不关心自然本身的存在和演进,自然的存在不过是为了服务和愉悦我们。浪漫主义泛神论的自然观将自然看作充满神性的、活泼泼的有机整体,相对于前两种自然美学有助于拉近人与自然的距离,唤起人对自然的热爱和尊重；不过,浪漫主义的“自我”始终具有优先地位,自然的价值在于它是主体抒发情感、表达精神的依托,人与自然并不是平等的。对于19世纪以来北美形成的自然美学传统,环境美学则是继承多于批判。梭罗、缪尔、利奥波德等人关注自然的实存而不仅是形式,重视自然科学知识在自然鉴赏中的作用,并开始将生态学视野引入到美学中,他们的自然书写和美学思想成为环境美学的重要理论资源。本章不限于对各种传统自然美学进行梳理和介绍,还力图从环境伦理的角度审视这些美学资源,指出它们同当代西方环境美学之间的关系。第二章研究作为环境美学一部分的自然环境美学。环境大致可分为自然环境和建成环境,其中自然环境美学是环境美学家们倾注了较多精力的领域,环境美学也以对自然美的重新关注为开端的。自然环境美学的中心任务是发展一种符合环境伦理的自然鉴赏模式。卡尔松继承了北美自然鉴赏传统特别是利奥波德的“大地美学”,强调以生态学为代表的自然科学知识在自然鉴赏中的支配性作用,发展了自然鉴赏的科学认知途径。伯林特则提出了“自然之外无一物”的大自然观,消解了人与自然、主体与客体的对立,为发展一种真正的自然伦理提供了哲学基础；他强调“身体参与”在审美中的重要性,主张美学回归身体。其他环境美学家也纷纷发展了各自的自然鉴赏理论,使得自然美学在经历长期的沉寂之后迎来了当代复兴。本章对自然鉴赏模式、自然全美论、自然美的哲学基础等问题进行了深入探讨,并展开自然美学研究的中西对话,指出我们必须充分认识到人与自然的同质性和关联性,立足“生态整体主义”看待人与自然的关系,并在此基础上重建自然美学。第三章探讨环境美学的体系建构,旨在对环境美学研究有一个全面、系统的把握。受思维方式和世界观的制约,目前环境美学的建构中存在两种不同的取向,一种基于主客二分思维方式和客体论环境观,要求发展一种客观主义的环境美学,以应对环境伦理的挑战；一种则超越主客二分,将环境看作普遍联系、无所不包的整体,要求发展一种整体的环境美学,并藉此重建美学理论。两种不同取向的环境美学在审美经验、美学范式、环境美学的应用、环境美学与环境伦理的关系、环境美学与艺术哲学的关系等很多问题上都有不同。本章选取卡尔松和瑟帕玛作为客观主义取向的代表,伯林特和布拉萨作为整体主义的代表,通过深入的研究、对比,笔者分析了环境美学建构的客观主义取向存在着的一些深层问题,指出整体主义取向更能代表未来环境美学的发展方向。第四章是城市美学研究。城市美学是环境美学的一部分,随着当代社会人口越来越多地向城市集中,城市美学日益凸显其重要性。审美体验是城市环境质量的试金石,它能验证我们的城市是否宜居,是否有助于丰富人类生活和完善人性,并且引导我们建造和重塑城市环境。本章首先对建成环境的意义与体验进行了探讨,表明环境的所有要素、特征以及所包含的人类意义都是连续性的整体体验的一部分,环境对于人的存在和生成意义重大。后三节分别对伯林特、林奇和约翰松的城市美学思想进行了研究,伯林特提出了“城市生态的审美范式”,强调城市要给人们以多样性、连续性的审美体验,并要作为整个生态系统的组成部分,与周边的农村环境保持连续性。林奇的城市意象研究稍早于环境美学的兴起,但他的卓越工作至今仍然在城市规划设计领域有着重要影响,他对审美体验、归属感和场所感的强调对伯林特等人也有着很大启发,因而我们将他的理论也纳入环境美学中进行研究。约翰松主张“将荒野引入城市”,利用现有的物质结构营造出生机勃勃的原生自然空间,使其成为人们日常生活的一部分,从而达到人与自然真正的统一。第五章对环境美学和生态美学进行比较研究。首先,本章探讨了西方环境美学同西方生态美学的关系。利奥波德最早将生态学视野引入美学,他的美学思想也被称为生态美学,但在20世纪60年代之后是环境美学而非生态美学成为西方美学的生长点,这是受西方哲学、美学传统影响以及当时对生态的理解不充分所致。不过,由利奥波德开创的西方生态美学传统并没有断绝。一方面,一些研究者仍在致力于生态美学的研究并取得一定的成果；另一方面,利奥波德的生态美学遗产融入了环境美学的血液,环境美学的发展也为西方生态美学的当代发展提供了理论资源。在第二节中,笔者指出了生态美学在中国蓬勃发展的原因,并以曾繁仁先生的生态存在论美学为代表展开了中国生态美学同西方环境美学的对话,指出二者在理论构建上的差异以及各自的长处和弱点,表明二者的存在各有其价值,它们的相互配合将共同推动美学的发展。结语部分首先总结了环境美学对于西方传统美学的重构与变革,包括疆域的拓展,美学基本理念和美学范式的转变,以及将给旧有世界美学格局带来的冲击；然后,对环境美学的未来发展进行了展望；最后,对如何借鉴西方环境美学解决中国的环境问题提出了自己的一点看法。更多还原

【Abstract】 Western Environmental Aesthetics emerged and developed in 1960s. During the past decades, it has became a main grow point of contemporary aesthetics and has attracted a lot of researchers from many countries such as America、Canada、and Finland. The development of Environmental Aesthetics is not only the response to the environmental crisis which is going from bad to worse, but also the requirement of the aesthetics’development and revolution. The estheticians rethought profoundly the anthropocentrism in the traditional aesthetics and criticized the analytic aesthetics which regard aesthetic as "Philosophy of Art". They enlarged aesthetics to all the areas that people can perceive, such as art, nature, country and city. They also introduced ecology and environmental ethics to aesthetics and reformed aesthetics’ basic ideas and normal form. The relations have been talked profoundly and widely between human and nature, art and environment, aesthetic and lives, as well as aesthetic and ethics. Aesthetics is becoming more and more important in the landscape assessment, environmental legislation, urban planning, environmental design and other application areas.In recent years, Western Environmental Aesthetics has accelerated the pace of spread in our country. Carlson, Berleant, Sepanmaa and other Environmental Aesthetician’s name become familiar to us. The Ecological Aesthetics of china, which has the same mission and the similar study field with environmental aesthetics, begin to exchange and dialogue with Western Environmental Aesthetics frequently. However, our study about Western Environmental Aesthetics is not enough at present, for our concerns to Environment Aesthetic is late, the research efforts is inadequate, and it is difficult for us to grasp environmental aesthetics due to its wide fields and complex theories. Therefore, this article takes Western Environmental Aesthetics as study object and tries to exert a systematic and profound study of it. It aims to supply theoretical resources and references for the construction of our Ecological Aesthetics and make a due contribution to the development of our aesthetics and the construction of the ecological civilization.The article includes seven parts:introduction, five chapters and epilogue.The introduction introduce the background, the significance, and the research overview of Contemporary Western Environmental Aesthetics, as well as the relations of several key words in this article, and conceive of this article. The endlessly deteriorate of environment caused by the combination of the continuously increased strength of people and the anthropocentric is the practical background of the Environmental Aesthetics’development. As far as aesthetics’development is concerned, the Analytic Aesthetics, as the artery aesthetics in the mid-20th century, limited aesthetics to "Philosophy of Art" and lose the relationship with the practical living of people, which caused Aesthetics faced with revolution and reconstruction. And it is the subject’s background. Environmental Aesthetics has gained a great achievement during the decades undertaking double missions. But it still needs further development, which means that there are broad prospects and huge space for environmental aesthetics. Both the study to Environmental Aesthetics and the attention to its development are of great significance to the construction of our Ecological Aesthetics and ecological civilization.The first chapter introduces and explores the Natural Aesthetics of western tradition. Environmental Aesthetics not only inherits but also criticizes its historical resource. Fundamentally speaking, the critical attitude is applied to the three influential theories of nature aesthetics, which is Kant’s natural aesthetics, Picturesque and Romanticism. Kant’s natural aesthetics is no more than the confirmation of subject ability. Beauty is the symbol of the virtue while sublime is just the idea of rationality. Just concentrating on beautiful nature, Picturesque neglected swamp, wich and other natural type without beautiful scene. It is indifferent to nature’s existence and development. The existence of nature is just for serving and pleasing us. Compared with the two natural aesthetics we talked above, the natural theory of Romanticism regards nature as an organic entirety full of divinity and vivacity. It aroused our love and respect to nature. However, the "ego" of the romantic is always prior. Nature is just the signal of people’s emotion and spirit. Human being and nature are not equal. For the natural aesthetic traditions formed in North America in the 19th century, Environmental Aesthetics are more criticism than inheritance. Muir, Thoreau and Leopold concern about the existence of nature, not just its form. They emphasis on the role of the natural science knowledge in the natural appreciation and begin to introduce ecology to aesthetics. Their natural writing and aesthetic theories are important theoretical resources of Environmental Aesthetics. Not limited to introduce the traditional natural aesthetic, this chapter tries to survey these aesthetic resources from the perspective of environmental ethics and point out the relationship between them and Contemporary Western Environmental Aesthetics.ChapterⅡstudies Natural Environmental Aesthetics. Generally speaking, environment include natural environment and construct environment. Environmental aesthetics is begun with the refocus on the beauty of nature and the Natural Environment Aesthetic is the area that Environmental Aesthetician paid more attention. The Natural Environmental Aesthetics’central duty is to develop a natural appreciation model that conforms to environmental ethics. Having inherited the tradition of natural appreciation in North American, especially Leopold’s Land Aesthetic, Carlson emphasizes the dominant role of the ecology, biology, natural history and other natural science knowledge in the appreciation of nature. He developed the scientific cognitive way of the natural appreciation. Berleant, who regards everything as nature, relieves the opposition of human being and nature, as well as subject and object. He provided a philosophy foundation for the development of a real natural ethics. He emphasizes the importance of "body engagement" in aesthetic and holds the view that aesthetics return to the body. Other environmental esthetician also developed their own theories of natural appreciation, which enables Natural Aesthetics to receive a contemporary revive after the silence for a long time. This chapter explores the questions in depth such as natural appreciative model, all the nature is beautiful, and the philosophy foundation of the nature beauty. At the same time, launches a dialogue on the study of natural aesthetics between China and the West. It regards that we should realize the homogeneity and interconnection, treat the relation of human being and nature from the "ecological holism" perspective, and based on which reconstruct Natural Aesthetics.ChapterⅢdiscusses systematic construction of environmental aesthetics, aims to form a comprehensive and systematically understanding on the studies of environmental aesthetics. Limited by the ways of thinking and worldviews, nowadays there are two different orientations in the construction of the environmental aesthetics. The first one calls for the development of objective environmental aesthetics to reply the challenge of environmental ethics, which based on the thinking way of subject-object dichotomy and the objective environmental viewpoint. The second one transcends subject-object dichotomy, regards the environment as an entirety that is interaction and encompassing. It calls for a holistic environmental aesthetics on which the aesthetic theories should be rebuild based. The two environmental aesthetics with different orientation vary in many questions, such as the aesthetic experience、the aesthetic paradigm、the application of environmental aesthetic、the relationship between environmental aesthetics and environmental ethics and the relationship of environmental aesthetics and art philosophy. This article takes Carlson and Sepanmaa as the representative of objective orientation, while Berleant and Bourassa holism orientation. After the profound compare and study, I analyze some deep questions existing in objectivism orientation of the Environmental Aesthetics’ construction and point out that holism orientation can better represent the future direction of Environmental Aesthetics.ChapterⅣstudies the aesthetics of city which is part of Environmental Aesthetics. Nowadays the aesthetics of city is becoming more and more important as a great quantity people pouring into city. Aesthetic experience is the touchstone of the environmental quality of city. It can verify whether our city suitable to live or not, whether our city can enrich our living and perfect humanity or not. It can also lead us to the construction and the rebuilding of the urban environment. At the beginning, this chapter talks about the significance and experience of the environment we built and indicates that all the constituents and features of the environment as well as all the human significance it contains are a part of the continuous overall experience. Environment is of vital significance to our existence and generation. The last three sections discuss the city aesthetic thinking of Berleant, Lynch and Johansson respectively. Berleant, who brought forward the "Urban Eco-aesthetic paradigm", emphasizes that city must provide us with various and continuous aesthetic experience. He stresses that city, as a constituent of the whole ecological system, should keep the continuity with the rural environment near it. Lynch’s study of the image of city has significant influence in the urban planning and design to this day, and has significant enlightenment to environmental estheticians including Berleant. So we bring Lynch’s theory into Environmental Aesthetics in despite of his study is earlier than the emergence of Environmental Aesthetics. Johanson claims to "introduce the wilderness into city". She believes that we can make use of the existing material structures to build a vibrant native natural space and enables it to be a part of our living so as to achieve a real unity of man and nature. We are shocked by her idea and works which provide us with a profound inspiration both in theory and application of the Environmental Aesthetics.Chapter V makes a comparative research between Environmental Aesthetics and Ecological Aesthetics. Leopold is the first man who introduced the ecological horizon into aesthetics. His aesthetic idea is called ecological aesthetic. However, it is environmental aesthetics but not ecological aesthetics become a growing point of the western aesthetic after 1960’, due to the influence of the western philosophy and aesthetic tradition, in addition to the inadequate understanding of ecology. But the ecological aesthetics sponsored by Leopold has not been cut off. On the one hand, some researchers devoted themselves into the studies and gained a number of achievements. On the other hand, the heritage of Leopold’s ecological aesthetics has injected into the blood of environmental aesthetics. And that the development of the environmental aesthetics supplied theoretical resources for western ecological aesthetics. In sectionⅡ, I point out the reason why eco-aesthetics booms in China. Taking professor Zeng Fanren’s Ecological Existential Aesthetics as representative, I carry out the dialogue between Western Environmental Aesthetics and Ecological aesthetics of China. I point out their difference on theoretical construction and also their each advantages and disadvantages so as to indicate that their existence have the value of their own. The corporation of them will promote the development of aesthetics.In the first place, the epilogue summarizes the reconstruction and revolution that Environmental Aesthetics take to western traditional aesthetics, including the expansion of territory, the transformation of fundamental aesthetics ideas and paradigm, as well as the concussion it will bring to the old situation of world aesthetics. In the second place, this part outlooks the further development of Environmental Aesthetics; Finally, I put forward my own views on how to learn from Western Environmental Aesthetics to solve the environment questions in China.更多还原