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中南大学学报(社会科学版)
ZHONGNAN DAXUE XUEBAO(SHEHUI KEXUE BAN)

2020年05月第26卷第3期
   
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文章编号:1672-3104(2020)03-0042-08
 
被重构的织物——苏珊·朗格关于感受的思想及其内在矛盾
 
朱俐俐
 
(北京大学艺术学院,北京,100871)
 
摘  要: 苏珊·朗格的艺术哲学思想延展和重构了感受这一概念,但学界对其论述尚不够细致深入,未能把握感受的含义、来源与特征中的诸多内在矛盾。感受所涵盖的范围极广,具有感性学意味,体现出二元论思维,突出了艺术家的创作主体身份。但朗格的论述在感受的范围层级、原型与共性的先在性等方面存在矛盾。感觉材料与经验作为感受的来源,可被划分为直接的感官知觉、事实经验、间接的知识基本经验等,但朗格的划分及其论述不甚清晰。感受在艺术表现与生成过程中,始终处于被动状态,且既是动态的、阶段性的,又是完整的、有结构的,但朗格对特征的假设存在诸多疑点。朗格关于感受的部分思想有其局限性,但仍有启发价值和现代意义。
 
关键词: 苏珊·朗格;感受;悖论;经验;织物
 
 
Reconstructed textile: Susanne Langer on thoughts of feeling and related internal contradictions
 
ZHU Lili
 
(School of Arts, Peking University, Beijing 100871, China)
 
Abstract: Susanne Langer’s art philosophy extends and reconstructs the concept of feeling. Nevertheless, studies on this issue have not yet been detailed and profound in the academic circle, failing to grasp various inherent contradictions in the implications and source of feeling. Feeling covers a wide range, holds an aesthetic touch and dualist thinking, and highlights the subjective identity of the artist. But Langer’s statement is contradictory in the scope of feeling, and in the apriority of archetype and commonality. Sense data and experience, as sources of feeling, can be divided into direct sensory perception and factual experience, and indirect basic experience of knowledge, but Langer’s division and interpretations are not clear enough. Feeling is always in a passive state in the process of artistic expression and generation, and is both dynamic and phrased, and integral and structural. But in Langer’s hypothesis of the characteristics, there exist many doubts. Some of Langer’s thoughts of feeling, though bearing limitations, are still of inspirational value and modern significance.
 
Key words: Susanne Langer; feeling; paradox; experience; textile
 
 
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