【摘要】： “審美經(jīng)驗(yàn)現(xiàn)象學(xué)”是法國現(xiàn)象學(xué)美學(xué)家杜夫海納的杰作。它是現(xiàn)象學(xué)研究方向過渡到審美經(jīng)驗(yàn)的重要成果，比其前輩更重視以審美知覺和審美對(duì)象為主要內(nèi)容的現(xiàn)象學(xué)理論構(gòu)建。杜夫海納對(duì)藝術(shù)作品和審美對(duì)象的定義是他理論大廈的基礎(chǔ)。杜夫海納在闡釋藝術(shù)作品審美過程中的感性、意義、形式等概念時(shí)，也闡明了審美對(duì)象在審美過程中的變化狀態(tài)和呈現(xiàn)方式。杜夫海納對(duì)藝術(shù)進(jìn)行的分類，為他創(chuàng)立面向整體藝術(shù)的審美經(jīng)驗(yàn)理論創(chuàng)造了條件，，掃清了道路，是審美對(duì)象理論的必要和有益補(bǔ)充。本文著重探討審美對(duì)象理論，不可避免地對(duì)藝術(shù)分類問題進(jìn)行了深入研究。
[Abstract]:The Phenomenology of Aesthetic experience is the masterpiece of French phenomenological aesthetician Dufheiner. It is an important achievement of the transition from phenomenological research to aesthetic experience, and pays more attention to the construction of phenomenological theory with aesthetic perception and aesthetic object as its main content than its predecessors. Dufheiner's definition of artistic works and aesthetic objects is the foundation of his theoretical edifice. While explaining the concepts of sensibility, meaning and form in the aesthetic process of works of art, Dufainer also expounds the changing state and presentation of aesthetic objects in the process of aesthetic appreciation. Dufheiner's classification of art creates conditions for his creation of aesthetic experience theory oriented to the whole art and clears the way. It is a necessary and beneficial supplement to the theory of aesthetic object. This paper focuses on the theory of aesthetic object, and inevitably makes a deep study on art classification.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2003
【分類號(hào)】：I01

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 尹航;論杜夫海納美學(xué)思想的主體間性內(nèi)涵[D];山東大學(xué);2010年

相關(guān)碩士學(xué)位論文 前3條

1 梁莎;杜夫海納美學(xué)探究[D];華中科技大學(xué);2010年

2 廖雨聲;杜夫海納論藝術(shù)中的再現(xiàn)與表現(xiàn)[D];內(nèi)蒙古師范大學(xué);2010年

3 杜志運(yùn);杜夫海納審美對(duì)象論研究[D];湖南師范大學(xué);2012年

本文編號(hào)：2179001