Aesthetics beyond the Arts: New and Recent Essays
Aesthetics beyond the Arts: New and Recent Essays
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超越艺术的美学：新近论文
DOI：
10.1093/aesthj/ayt035
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发表时间：
2014
影响因子：
0.8
通讯作者：
Jessica J. Lee
中科院分区：
文献类型：
--
作者：
Jessica J. Lee
正如副标题所述，这本文集--新的和最近的散文--真正涵盖了伯林特的全部作品，从第一页就很明显了。柏林特引用了他最早的著作《审美场》(1970年)，在这本书中，他首先发展了他的整体、参与的审美体验方法，本质上指出，他开始是因为他想继续下去。他的参与模型的范围决定了伯良特在这些散文中的结论，因为康德的无私被抛弃，取而代之的是积极的鉴赏，塑造鉴赏的主客体二元性被重新结构为连续性，在身体和地方的相互渗透中(52)。事实上，许多论文--总共有18篇--不到10页，这意味着伯良特能够展示他的艺术之外的美学可以是多么广泛，因为他研究了花园、城市、道路、森林和一些传统艺术。一开始，伯良特认为，不可能有“纯粹的”审美体验。他指出，无论是纯粹的主观或相对主义模型，还是客观美学，都是不可能的，相反，他指出，我们可以培养一种对塑造我们身体、认知和想象经验的‘知觉透镜’的意识。我们对建筑环境的体验，不仅仅是我们与建筑的文化关系，也是我们自己在建筑欣赏方面的经验和教育。身体参与环境的感觉与构成我们当下体验的那些因素是分不开的。然后，伯良特的艺术论文评估了我们获得的艺术知识如何塑造我们的鉴赏能力。然而，在第一部分的最后一篇文章中，伯良特已经离开了20世纪美学的范畴：他认为音乐是一种环境艺术，是一种我们可以审美地参与的感性领域。向他的散文环境美学的转变是平稳的，符合以感官体验为中心的美学模式所要求的艺术-环境的连续性。
The way in which this collection—new and recent essays, as the subtitle states—really encompasses the entirety of Berleant’s work is evident from the first pages. Berleant references his earliest book, The Aesthetic Field (1970), in which he first developed his holistic, engaged approach to aesthetic experience, noting in essence that he started as he meant to go on. The scope of his engagement model determines Berleant’s conclusions throughout these essays, as kantian disinterestedness is dismissed in favour of active appreciation, and the subject-object dualities that shape appreciation are reframed as continuity ‘in an interpenetration of body and place’(52). The fact that many of the essays—there are eighteen in total—come in under ten pages means that Berleant is able to demonstrate just how wide-ranging his ‘aesthetics beyond the arts’ can be, as he takes in gardens, cities, roadways, forests, and a few of the traditional arts.At the outset, Berleant argues that there can be no ‘pure’aesthetic experience. neither a purely subjective or relativist model nor an objective aesthetics are possible, he notes, stating instead that we can cultivate an awareness of the ‘perceptual lenses’ which shape our bodily, cognitive, and imaginative experiences. Our experience of an architectural environment is shaped, not solely by our cultural relationship with buildings, but by our own experience and education in architectural appreciation. The sensation of bodily involvement in an environment is inseparable from those factors which frame our experience in the moment. Berleant’s essays on art, then, assess the ways in which our acquired knowledge of the arts can shape our appreciation. By the final essay in this first section, however, Berleant is already moving away from the purview of twentieth-century aesthetics: music, he argues, is an environmental art, a perceptual field with which we can engage aesthetically. The shift to his essays environmental aesthetics is made smoothly, in keeping with the art-environment continuity demanded by an aesthetic model centred on sensory experience.