从“协调圈”到“可沟通的意义”:杜威艺术感觉观溯源

From“Coordination”to“Communicable Meaning”:The Origin of Dewey's View on Artistic Senses

杜威在《艺术即经验》中指出,长期以来心理学家、哲学家、道德家对于感觉的诸多负面评价都源自一种对人之基本生存的误解,即未能看到人的独特之处恰恰在于有可能“将感觉与冲动之间,脑、眼、耳之间的结合推进到新的、前所未有的高度”,而艺术恰是这种结合的有效证明。本文旨在从杜威的这一重要判断出发,通过回溯他早、中、晚期代表著作中对感觉的讨论,考察其感觉观的变迁,进一步讨论艺术中的情(感觉)、思(理性)、做(行动)三者的关系,并指出杜威最终在《艺术即经验》这部美学经典中,找到了克服“情、思、做三者分离”的出路:艺术让人学会有意义地使用自然的材料和能量,与此同时,人的脑、眼、耳相互之间也获得了高度结合。

In Art as Experience,Dewey pointed out that for a long time,many negative evaluations of sense and feeling by psychologists,philosophers and moralists stem from a misunderstanding of human being's basic existence,that is,the failure to see the uniqueness of people lies in the possibility of carrying to“new and unprecedented heights that unity of sense and impulse,of brain and eye and ear.”And art is the effective proof of this combination.Starting from Dewey's this important judgment,this paper aims to investigate Dewey's view of sense by reviewing his early,middle and late representative works.This chronological analysis will be followed by a discussion of the relationship among sense,rationality and action in art.