西方美学史中审美主体的理论表述地位变迁

The Changing Status of the Theoretical Expression of the Aesthetic Subject in the History of Western Aesthetics

美是什么,美是怎么来的。这是一个古老的问题,西方美学史上各个时期都在针对这一问题进行探索。从中可以发现,美学研究存在一个由审美客体向审美主体转变的倾向。审美理论表述中的主体“我”的地位也在不断地发生变化:在古希腊古罗马时期主体“我”只是作为一个默认的基点;到了笛卡尔的“我思故我在”,主体“我”成了理论反思的对象;而在心理学诞生之后,审美主体“我”被作为反思的主体或主要对象。在今天的神经美学研究中,“物”与“我”、主体与客体的边界被打破,主体“我”被落实到了身体的“物”的层面上,因此,神经美学进一步推动了由审美客体到审美主体的转向,“物”成了“我”的一部分。

What is beauty and how does it come about.This is an ancient problem,which has been explored in various periods in the history of Western aesthetics.From it,we can find that there is a tendency for aesthetic research to shift from the aesthetic object to the aesthetic subject.The status of the subject“I”in the expression of aesthetic theory has also been changing;in ancient Greece and Rome,the subject“I”only served as a default base;in Descartes’“I think,so I am”,the subject“I”has become the object of theoretical reflection;after the birth of psychology,the aesthetic subject“I”has been taken as the subject or main object of reflection.In today’s neuroaesthetic research,the boundary between“object”and“I”,subject and object is broken down,and the subject“I”is implemented to the level of“object”of the body.Therefore,neuroaesthetics further promotes the transformation from the aesthetic object to the aesthetic subject,and the“object”becomes a part of the“I”.