论环境美学中的“连续性”问题——从杜威美学到参与美学

On the "Continuativeness" of Environmental Aesthetics:From Dewey Aesthetics to Participation Aesthetics

"连续性"是环境美学中的一个重要概念。"连续性"一词源于杜威美学,杜威以"经验"为核心概念,批判了传统的二元论哲学美学,试图建立一元论的哲学美学体系。在《艺术即经验》中,杜威从人与动物、有机体与自然的连续性出发,提出要恢复艺术与非艺术、审美经验与日常生活的连续性。伯林特继承并发展了杜威的"连续性"理论,对环境一词进行了全新阐释。他进一步批判了杜威所反对的审美无利害及相关理论,创造性地提出了自然鉴赏的参与模式,并将这种自然鉴赏模式应用到对艺术、日常生活景观的审美探讨中,发展出一种全面的参与美学理论。

＂Continuativeness＂ is an important concept in environmental aesthetics. ＂Continuativeness＂ originated from Dewey aesthetics. Dewey criticized the traditional dualism aesthetics with ＂experience＂ as the core concept and attempted to establish a unitary aesthetic system. In his Art Is Experience, Dewey proposed to recover the continuativeness between art and non art, aesthetic experience and daily life, starting from the continuativeness featured by human and animal, organism and nature. Berleant inherited and develop Dewey＇s ＂continu- ativeness＂ theory and give a brand-new interpretation for the word ＂environment＂. He further criticized theories of uninterested aesthetics, which was also opposed by Dewey, and creatively put forward a participation mode of natural appreciation. And the mode was applied in the aesthetic probe of art and daily life landscape, turning out to be a comprehensive participation aesthetic theory.