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杜夫海纳把审美对象看成“为我们”而存在的“自在”“自为”的“准主体”。他认为“自在”与“自为”在审美对象中可以调和为一种自律的存在,在此基础上,又创造性的赋予审美对象以“准主体”的地位,这样,在审美活动中,作为“准主体”的审美对象与作为欣赏者的“我们”便形成一种交流和对话的关系。杜夫海纳将审美对象界定为关系性的存在是对传统美学审美对象主客二分存在方式观的一种超越。
Dufrenne regards the aesthetic object as “quasi-subject ” of “free ” “self ” which exists for “for us ”. He believes that “free ” and “self ” in the aesthetic object can be reconciled into a self-regulated existence, on this basis, creatively endowed the aesthetic object with “quasi-subjective ” status, In the aesthetic activities, the aesthetic object as the “quasi-subject” forms an exchange and dialogue relationship with the “we” as the appreciator. Dufrenne’s definition of the aesthetic object as a relational existence is a transcendence of the dichotomy of subject and object existing in the aesthetic object of traditional aesthetics.