杜夫海纳的审美知觉论

Dufrenne Aesthetic Perceptionism

现象学认为知觉作用具有指向性,物体就是被知觉的物体。在审美活动中,要搁置各种主动附加的内容,让审美对象能够直接地呈现于我们,使审美知觉的特征显现出来。杜夫海纳则在此基础上把分析感觉与知觉看成现象学最根本的方法。对活生生的审美知觉的描述和向往,意味着人们渴望追寻到鲍姆嘉通aesthetic(感性学)的原意,返回到希腊人称之为"感性经验"的那种基本的和具体的人类原初经验。梅洛庞蒂的知觉现象学是杜夫海纳的美学认识论的基础。审美知觉活动的过程主要包括呈现阶段、表象与想象的阶段和反思和情感阶段。审美知觉是一种具有明显意向性的现象学的知觉,是一种纯粹的知觉,也是一种能把艺术作品变成审美对象的知觉。它既是感性的,同时也是归纳性的。

Phenomenology considers that the function of perception plays as a direction sign, the perceived object is the object itself. During the process of tasting, active addictive content should be laid aside, so that aesthetic objects might be showed to us directly, and aesthetic perception characteristic could also be revealed. Based on the principle above, Dufrenne takes analyzing feeling and perception as the fundamental method. Describing of the vivid aesthetic perception and the desire for it predicts that human hope to track down to the original intention of Bamugaten ＇ aesthetic＇ , which means getting back to the basic and material original human experience which is called ＇sensible experience＇ by Greeks, Merleau - Ponty perception phenomenology is the basic of Dufrenne aesthetic epistemology. The process of feeling perception consists mainly of appearing phase, presentational and imagine phase, and rethinking and emotion phase. Aesthetic perception is one kind of phenomenological perception with obvious intent, is one kind of unmixed perception, and is also one kind of perception with the ability to convert works of art into aesthetic objects. Aesthetic perception is not only sensible, but also conclusive.