从符号建构通向舞蹈哲学——卡特舞蹈美学思想初论

From Semiotics towards the Philosophy of Dance:Outline of Curtis L. Carter’s Dance Aesthetics

柯蒂斯·卡特(Curtis L.Carter)舞蹈美学思想的首要来源,是美国美学家约翰·杜威的实用主义美学,其中杜威建构在连续性视阈下的"一个经验"思想成为卡特艺术哲学最重要的基础。就舞蹈艺术的本质而言,卡特认同苏珊·朗格和纳尔逊·古德曼的艺术符号学观点,将艺术看成是一种认知表达的符号。朗格的新康德主义符号学在逻辑层面确立了具象艺术作为符号的认知科学属性,而纳尔逊·古德曼的艺术符号学对卡特而言,最重要的启示是解决了艺术的定义阐释问题和艺术的表现问题。在朗格和古德曼艺术符号学的基础上,卡特结合英国分析哲学家吉尔伯特·莱尔的心灵哲学和舞蹈美学家弗朗西斯·斯巴绍特的舞蹈学理论,提出了舞蹈美学通向舞蹈哲学的理想。

The primary source of Curtis L. Carter’s dance aesthetics is the American aesthetician John Dewey’s pragmatic aesthetics,in which Dewey’s idea of "an experience"is constructed from the perspective of continuity,and has become the most important foundation of Carter’s philosophy of art. As far as the essence of dance is concerned,Carter agrees with Susan Langer’s and Nelson Goodman’s artistic semiotics and regards art as a symbol of cognitive expression. Langer’s neo-Kantian semiotics establishes the cognitive scientific attribute of figurative art as a symbol at the logical level,and the most important enlightenment of Nelson Goodman’s artistic semiotics for Carter is to solve the definition and interpretation problems of art. On the basis of Langer’s and Goodman’s artistic semiotics,Carter combines the British analytical philosopher Gilbert Lyle ’s philosophy of mind and dance aesthetician Francis Sparshortt’s theory of dance,and proposes the dance aesthetics should lead to the ideal of dance philosophy.