舒斯特曼新实用主义美学研究
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摘要
理查德·舒斯特曼(Richard Shusterman)是当前美国新实用主义哲学与美学的领军人物,也是当前国际美学界颇为活跃的知名学者。通过对当前流行于欧美的两大美学派别即分析美学和解构主义美学进行综合吸收,并且在借鉴古典实用主义者詹姆斯、杜威等人的美学思想的基础上,舒斯特曼形成了自己独特的新实用主义美学思想。舒斯特曼的新实用主义美学涉及到当前欧美学术界讨论的众多热点问题,比如,解释学、审美经验、艺术定义、有机统一、通俗艺术等。舒斯特曼提出的表演性解释、戏剧化艺术以及身体美学等一些命题引起了许多不同文化传统的美学家们的关注,在国际学术界产生了重要的影响。舒斯特曼的新实用主义美学对于中国当代的美学建设而言既是一面镜子,又是一座桥梁。作为镜子,舒斯特曼的新实用主义美学一方面揭示了西方当代美学发展的一种新趋势,另一方面也凸显了西方当代美学发展所面临的困境,而且,它对中国古代美学思想的借用也为我们提供了重新理解传统美学思想的一种新的视野和方法。作为桥梁,舒斯特曼提出的“身体美学”已经引起了国际学术界的关注,我们可以利用中国传统文化中丰富的身体理论参与到国际的学术交流与对话中去。因此,舒斯特曼的新实用主义美学研究对于建构中国当代的美学而言具有十分重要的理论价值和现实意义。
本论文的导论部分主要论述了舒斯特曼新实用主义美学在当前国际学术界的影响、论文写作的基本目标和难点分析以及舒斯特曼新实用主义美学的立场和逻辑分析。本文以舒斯特曼的新实用主义美学为研究客体,但是在研究的具体展开过程中总是面临着选择恰当的距离难题,距离的存在既给归纳、总结研究客体增加了难度,但同时也为研究的另一个目标即自我的成长提供了可能。在分析舒斯特曼新实用主义美学采取的立场和逻辑部分时,本文指出,舒斯特曼在当前的“新古典—实用主义”和“新分析—实用主义”之间采取了一种中间的立场,既赞同古典实用主义者思想中的“经验”,又采用分析的实用主义者的“语言分析”方法。从更为广阔的学术传统而言,舒斯特曼在当前欧美学术界盛行的两种哲学即分析哲学和解构主义之间,也采取了一种中间姿态。这种姿态建立在他所倡导的“包容性转折”立场上和“或此或彼”的逻辑基础上。舒斯特曼所采取的这种立场和逻辑既给他的理论赋予了浓郁的辩证色彩,同时也造成了其思想的复杂性和相对性。
本文的第一章论述了舒斯特曼新实用主义美学的生成方式。这一章分为三个章节:第一节叙述了影响舒斯特曼美学思想的实用主义哲学传统。实用主义在美国的发展经历了兴起、衰落到重新复兴的发展轨迹,按照其历史的展开过程,美国的实用主义大致可以分作古典实用主义和新实用主义两个阶段:前者以詹姆士、杜威为代表,后者以罗蒂为代表:前者强调经验在哲学中的重要性,后者注重语言叙事对社会实践的重要性。两者的共同特点是反基础主义,主张通过叙事来改变实在。本文将舒斯特曼定位为新时期的实用主义者,因为他在综合吸收两者思想的同时,也对它们进行了分析与批评。第二节介绍了舒斯特曼通过叙述而建构起来的实用主义美学家的谱系。舒斯特曼将原本未在实用主义阵营中的爱默生、洛克等纳入古典实用主义美学家之中,又将纳尔森·古德曼、约瑟夫·玛格丽丝、理查德·罗蒂、斯坦利·菲舍尔(Stanley Fish)等人归入新实用主义美学家阵营,由此而建构了完整的实用主义美学家的谱系。在建构这个谱系的过程中,舒斯特曼形成了自己独特的“民主一多元主义”的新实用主义美学特征。第三节分析论述了个人性格及生活经历对舒斯特曼新实用主义美学的影响。舒斯特曼性格中的“叛逆性”和“世俗性”不仅促使他从分析美学转向实用主义,而且决定了他对审美经验的快乐主义的强调。双重国籍以及在多元文化之间的旅行使舒斯特曼在美学上坚持一种多元主义的观点,因此他强调多种文化传统的美学理论都具有其相应的价值。
本文的第二章主要探讨了舒斯特曼的美学解释学问题。解释学是舒斯特曼学术生涯中一直持续关注的话题,它不仅构成了舒斯特曼美学思想的一个重要组成部分,而且他对解释学的基本观点也反映着舒斯特曼美学思想的基本特征。舒斯特曼主张多元论的解释观,在他看来,在解释的逻辑地位、解释中的理性作用以及解释的形式等方面一向存在着不同的观点,各种解释的理论不存在价值上的优劣,面对多元的解释实践,唯一明智的做法是在理论上采取多元主义的观点。在分析和批评了分析美学以及解构主义对解释的各种观点后,舒斯特曼主张解释的目的不是去揭示某种客观的真理,而是去生成和制造关于文本的意义。他将这种解释理论看作是实用主义解释观,并称作为表演性的解释。作为实用主义者的舒斯特曼赞同解释普遍主义对基础主义的反对,也赞同解释的普遍性和不可替代的作用。但是他反对将人类所有的智力活动都包含在解释之中的激烈主张,认为这种信仰与他主张的适度的解释普遍主义相比带有更大的危险性。在他看来,解释学应该为解释之下或之前的事物留下存在的空间。舒斯特曼反对将人类的一切智力经验都归之为反思性、语言的解释性经验,这便为处于解释之前的、未经过反省的、无意识的、非语言的理解及经验提供了存在的合法性和价值,同时也为他后来提出的“身体美学”从理论上做好了铺垫。
本文的第三章主要探讨了舒斯特曼新实用主义美学的艺术理论。舒斯特曼对艺术理论的研究主要集中在艺术定义的分析与批评、将艺术定义为戏剧化的理论尝试以及通俗艺术的审美辩护等三个方面。其中,舒斯特曼使用了分析美学的语言分析策略分析批评了美学历史上出现的各种艺术定义;对艺术的戏剧化定义体现着他所主张的“诗学的、建构的”实用主义美学精神;对通俗艺术的审美辩护则反映了他美学思想中的改良主义和民主主义的特征。舒斯特曼认为本质主义的艺术定义无法提供一个在共同和个别两方面都适用于所有艺术作品的本质,也不能提供满足某物是艺术作品而不是普通物件的充分必要条件。“包装型”艺术定义只是将以往的艺术品成功地捆绑在一起,从而将艺术品和非艺术品区分开来,但是对艺术的经验与实践却不能起到积极的增进或改善作用。“艺术即经验”(杜威)的定义与上述两种定义相比具有较大的优越性,因为它可以使人们的注意力迅速地集中在艺术的审美经验的纬度上。美学研究长期以来存在着自然主义和历史主义两种倾向,舒斯特曼认为将艺术定义为“戏剧化”可以有效地调和存在于这两种倾向之间的冲突与对立,可以兼顾到二者对艺术的规定性。在他看来,这个定义不仅可以把握与强调艺术的某些重要与独特的品质,更为重要的是它可以改善与提高人们对艺术的理解与欣赏。因为这个定义既尊重了历史主义对艺术作为一种特定实践的要求,又兼顾了自然主义对艺术植根于人性中的自然需要的呼吁。既含有从制度方面定义艺术的优点,又带有对艺术功能性的评价。舒斯特曼教授还是第一个从审美价值方面为通俗艺术辩护的美学家。他对通俗艺术的审美辩护凸显了通俗艺术的审美价值,并将美学的合法性赋予了这类一向遭受美学家们批评指责的艺术。他试图通过对这类艺术的美学分析从而改良通俗艺术的制作和接受状况,并消除长期以来设立在通俗艺术和高级艺术之间的界限,这显著地体现了他美学思想中的民主精神。
本文的第四章论述了舒斯特曼新实用主义美学中的“身体美学”部分。身体美学(Somaesthetics)是舒斯特曼将希腊语的soma(身体)与英语的aesthetics(美学)结合在一起而创造出来的一个新的哲学及美学术语,他的意图是通过这个术语而建设一个新的哲学与美学学科。对身体的关注已经成为欧美众多国家文化领域的一个热点问题,而有关身体的各种理论处于散乱的、不成系统、毫无联系的状态。为了使众多的有关身体的研究在结构上连接起来并且将它们有效地整合起来,使身体的研究成为一个系统化的工程,舒斯特曼创造性地提出了这个术语。舒斯特曼借鉴了杜威对非语言的、非推论的直接性经验的强调和重视,并由此推论出身体经验的存在;在借鉴亚历山大和福柯的思想后初步阐述了身体呵护以及身体经验对于人、人的经验以及哲学的重要价值,由此为身体美学的提出做出了理论上的铺垫。在“身体美学”中,身体被看作是审美欣赏以及自我塑造的基地,身体美学致力于对身体经验以及如何使用身体的批评性的、改良性的研究。因此,身体美学也就包含了那些构成身体关怀以及身体改良的知识、话语、实践和身体训练等诸多的方式。身体美学具有三个基本的纬度:即分析的身体美学、实用主义的身体美学以及实践的身体美学。2000年以来,舒斯特曼相继发表了一系列的文章,分别从身体的审美经验、身体表象的美学与文化意味以及身体训练的美学意义等几个方面继续推动着身体美学的理论进展。
本文的结语部分主要探讨了舒斯特曼的新实用主义美学对建构中国当代美学的价值和意义。文章认为,舒斯特曼的新实用主义美学批评了现代美学建立的一系列原则,并且显示出与中国传统美学思想如孔子美学极大的亲和性,从而为我们提供了如何利用中国传统美学以及舒斯特曼新实用主义美学的有效途径。其次,舒斯特曼所采用的分析和谱系学-诗学的方法对我们而言具有更为重要的借鉴价值。最后,本文借鉴与吸收舒斯特曼对有机统一认识的基础上,尝试着地提出了动态的、多元的有机统一观。
Richard Shusterman is regarded as one of the foremost representative of the neo-pragmatism aesthetics who is becoming more and more popular on the international aesthetic forum today. His great contributions on aesthetics lie in his synthetic absorption of the two main schools of aesthetics—analytic aesthetics and deconstructive aesthetics. Through the synthesizing assimilation from the analyze aesthetics and deconstruction aesthetics, while using for the reference of the ideas of the classical pragmatist James and Dewey, Shusterman has formed his own new pragmatic aesthetics thoughts. His aesthetics comes down to many hot issues which are being discussed by the Europe and American academics, these issues including interpretation, aesthetic experiences, the definition of art, the organic unite and popular arts. Some propositions such as validity interpretation, dramatic art and somaesthetics which are brought forward by professor Shusterman have aroused the attentions of many aestheticians, and engendered great influence in the world academe. As to the construction of the current Chinese aesthetics, Shusterman's new pragmatism aesthetics is both a mirror and a bridge. As a mirror, it reflects the tendency of the development of the western aesthetics; meanwhile, the use of Chinese ancient aesthetics provides us a new approach and vision to reconsider it. As a bridge, his "somaesthetics" has aroused great attention of the world academics and his theories on aesthetics shall play a great role in constructing Chinese aesthetic thoughts.
Introduction is about the basic writing goal and an analysis of the difficult points of the thesis; Shusterman's influences on today's international; aesthetic forum and his views on neo-pragmatism. During the research, the author always feels confused on the distance problem. Although the existence of distance brings trouble to analyze and define the object topics, it also provide a space for the author to develop his own ideas. The first part of the introduction focuses on Shusterman's standpoints and logic on neo-pragmatism. It indicates that Shusterman chooses to stand on a mediate position between Neo- classical-pragmatism and Neo-analysis-pragmatism, that is to say, he not only agrees with the experience of the classical pragmatism thoughts but also absorb the "linguistic analysis" method of the analytic aesthetic pragmatism. Generally speaking, based on his "inclusive disjunctive' and his "either ...or" logic, Shusterman shows a mediate attitude between the two most popular philosophical traditions-analytic philosophy and deconstruction. This kind of attitude, on one hand, adds thick dialectic color to his perspectives and on the other hand, it also makes his thoughts become complex and relative.
Chapter one focuses on the way how Shusterman's neo-pragmatism is cultivated. Chapter one is consisted of three parts. Part one analyzes how Shusterman is influenced by the pragmatists' aesthetic thoughts, including the prosperous, declination and regeneration of American pragmatism. Frankly speaking, American pragmatism can be divided into two traditional periods—classical pragmatism period and neo-pragmatism period. The representatives of the first periods cover James and Dewey and the most important pragmatist of the second period is Rotty. There are also some differences between the two periods: the former emphasizes the importance of experience in philosophy and the latter emphasizes the important functions of linguistic narration to social practice. Despite the differences, there are also some similarities between the two trends for they are both anti-foundationalism and conceive in transforming realism through narration. Shusterman is defined as a neo-pragmatist because he analyzes and criticizes the two trends during his process of synthetism and absorption of the main themes of these two trends. The second part includes the genealogical system of the pragmatists established by Shusterman through narration. In his genealogical system of the pragmatists, he not only adds Emerson, Luke to the school of classical pragmatists, but also puts Narlson Goldman, Joserff Margrete, Rotty, and Stanley Fish into the neo-pragmatists school , and in this way, he successfully established a perfect, whole genealogical of the pragmatists, which embodies his unique " democratic-multiple" view on neo-pragmatism. Part three is an analysis of Shusterman' individual personality and his living experiences, which influenced his neo-pragmatism thoughts profoundly. His rebellion and secularity prompts him to transfer from analytic aesthetics to pragmatism, as well as determines his emphasis on the hedonistic on aesthetic experiences. His multiple views on aesthetics and positive view on the value of different aesthetic theories from different cultural conventions originated from his dual nationalism and his living experience in different cultural traditions
The second chapter of this dissertation is about Shusterman's interpretation theory. Interpretation, an issue which interests Shusterman the most in his critic career, is the most important ingredients in his neo-pragmatism thought, and it also indicates the character of his aesthetic views. Richard Shusterman on the plurism view on interpretation. In his opinion, although different critics have different perspectives on the logical position, the function of rationalism and the form of the interpretation, their theories on interpretation have values on the same level. Facing the plurism interpretation theories, the best way is to choose a plurism vision on interpretation theories. Through the analysis of the different visions on interpretation of the analytic and deconstruction aesthetics, Shusterman proposed his own aesthetic theory and he asserts that the purpose of interpretation as not to discover a certain objective truth but to cultivate and fabricate the meaning of the context. He defined this kind of view as pragmatist interpretation and called it performing interpretation. As a neo-pragmatist, Shusterman conceives in the objection of the general interpretation to the foundationlism as well as the generalism of interpretation and its undisplacable function. However, he opposes the opinion which concludes all the intellectual activities in interpretation and he believes this kind of view is more dangerous than his suitable interpretation generalism. According to Shusterman, Interpretation should leave room for the things before they are interpreted. He opposes the ideas which attributed all the intelligent experiences to the introspective and non linguistic interpretational experience, that is to say, he affirmed the logical and valuable existence of some kind of understandings before interpretation and the existence of understanding got from the un-introspective, un conscious , nonlinguistic experience and interpretation. His great contribution to interpretation also provides a good theory support to his somaesthetics.
Chapter three mainly focuses on Shusterman's artistic theory on neo-pragmatism. Shusterman's artistic theory concerned on mainly three parts: the definition of arts; the attempt to define art through the opera theory and the aesthetic defense on popular art. On the definition of art, Shusterman compares and analyzes different kinds of definitions on art with a method borrowing from analytic aesthetics. His attempt to define art through opera indicates his assertion on "poetic, constructive" pragmatist aesthetic views; on the other side, his aesthetic defense on popular art reflects the meliorate and democratic factors in his aesthetic thoughts. For Shusterman, the natural definition of art can not provide an explanation which is suitable to define both the common and the individual nature of the artistic aesthetic productions, and further this definition and not provide the necessary and sufficient condition which can prove a certain object is an artistic production or not. According to another definition on art, Wrapper definition, Shusterman asserts that although it distinguishes the artistic productions from the common objects by wrapping all the art productions together, it does no benefit to the experience and practice of art. Dewey's "Art as Experience" theory is better than the first two, for, it leads people's concentration to the aesthetic experiences. For a long time, the critics have done researches on aesthetics from the perspectives of naturalism and historicalism, so, in Shusterman's opinion, to define art as "dramatization" is a perfect way to conciliate the conflicts between these two trends and it also can cover the definition on art from the two schools. For Shusterman, this definition could not only convey the main and unique features of art, but also it has great role in reforming and promoting people's interpretation and appreciation of art, because this definition supports both the historical aesthetics who contends art is a special practice and the natural aesthetics who believes that art is rooted in the natural needs of the human needs. Furthermore, this definition is perfect in describing both the system and the function of art. Professor Shusterman is the first pragmatist who defenses popular aesthetics from the perspective s of aesthetic values. His defense mainly advocates the aesthetic value of the popular art and further he makes the popular art a logical part in aesthetics through his aesthetic analysis on this kind of art. He attempts to meliorate the producing process of the popular art and its receiving condition and to break the boundary between popular art and high art. This also to a large extent, indicates his democratic aesthetic thoughts
In chapter four, it discusses the portion of "somaethetics" of Shusteman's new pragmatism aesthetics. The word "somaesthetics" is created by Shusterman from the word "soma" in Hellenic and the word "aesthetics" in English. It is a new term in philosophy and aesthetics. Shusterman's intention is to build a new discipline in philosophy and aesthetics. In order to connect many researches on the body and make them into a systematic project, Shuterman creatively coins the term. He uses Dewey's stress and emphasize on the non-lingual, non-deductive and immediate experience, thus deducts the body experience. Aiming to make the vary researches on "body" united on structure and make the researches on "body" become a systematic project, Shusterman created the new term "somaesthetics". Shusterman agrees with Dewey's emphasis on the non-linguistic, non-deductive immediate experiences and he further deducts the existence of body experience, and at the same time, Shusterman also borrows the thoughts of Alexander and Foucoult in his analysis on the maintaining of body, the important values of body experience to people and people's experiences, and by doing so, Shusterman provides theory foundations for his "somaethetic aesthetics". Considering "body" as the base of aesthetic appreciation and self-shaped, Shusterman's "somaethetic aesthetics" mainly concerns the "body experience" and the way of using "body". So, in this sense, his "somaethetic aesthetics" covers the knowledge, discourse, practice and exercise which are related to the maintaining and promoting of body. Generally speaking, Shusterman's "somaethetic aesthetics" can be divided into three parts: analytic "somaethetic aesthetics", pragmatism "somaethetic aesthetics" and practical "somaethetic aesthetics". Since 2000, Professor Shusterman has published a lot of essays analyzing his "somaethetic aesthetics" from the perspectives of aesthetic experience, representative aesthetic and cultural significance, and the aesthetic significance of body exercises. His essays promote the theory development of his "somaethetic aesthetics" to a great extent.
The conclusion of the dissertation probes into the value and significance of Shusteman's new pragmatism aesthetics to the construction of the Chinese aesthetics in the contemporary. It believes that Shusterman's aesthetics criticize many principles of modem western aesthetics, and reveals great similarity, thus provides us available approach to make use of Chinese traditional aesthetics and his new pragmatism aesthetics. Meanwhile, the analytic and genealogical-poetic approaches that Shusterman adopts possess greater reference value for us. At the end of the dissertation, based on Shusterman's views on "organic unite", the author attempts to propose the "dynamic and pluralism organic unite" concept.
本论文的导论部分主要论述了舒斯特曼新实用主义美学在当前国际学术界的影响、论文写作的基本目标和难点分析以及舒斯特曼新实用主义美学的立场和逻辑分析。本文以舒斯特曼的新实用主义美学为研究客体,但是在研究的具体展开过程中总是面临着选择恰当的距离难题,距离的存在既给归纳、总结研究客体增加了难度,但同时也为研究的另一个目标即自我的成长提供了可能。在分析舒斯特曼新实用主义美学采取的立场和逻辑部分时,本文指出,舒斯特曼在当前的“新古典—实用主义”和“新分析—实用主义”之间采取了一种中间的立场,既赞同古典实用主义者思想中的“经验”,又采用分析的实用主义者的“语言分析”方法。从更为广阔的学术传统而言,舒斯特曼在当前欧美学术界盛行的两种哲学即分析哲学和解构主义之间,也采取了一种中间姿态。这种姿态建立在他所倡导的“包容性转折”立场上和“或此或彼”的逻辑基础上。舒斯特曼所采取的这种立场和逻辑既给他的理论赋予了浓郁的辩证色彩,同时也造成了其思想的复杂性和相对性。
本文的第一章论述了舒斯特曼新实用主义美学的生成方式。这一章分为三个章节:第一节叙述了影响舒斯特曼美学思想的实用主义哲学传统。实用主义在美国的发展经历了兴起、衰落到重新复兴的发展轨迹,按照其历史的展开过程,美国的实用主义大致可以分作古典实用主义和新实用主义两个阶段:前者以詹姆士、杜威为代表,后者以罗蒂为代表:前者强调经验在哲学中的重要性,后者注重语言叙事对社会实践的重要性。两者的共同特点是反基础主义,主张通过叙事来改变实在。本文将舒斯特曼定位为新时期的实用主义者,因为他在综合吸收两者思想的同时,也对它们进行了分析与批评。第二节介绍了舒斯特曼通过叙述而建构起来的实用主义美学家的谱系。舒斯特曼将原本未在实用主义阵营中的爱默生、洛克等纳入古典实用主义美学家之中,又将纳尔森·古德曼、约瑟夫·玛格丽丝、理查德·罗蒂、斯坦利·菲舍尔(Stanley Fish)等人归入新实用主义美学家阵营,由此而建构了完整的实用主义美学家的谱系。在建构这个谱系的过程中,舒斯特曼形成了自己独特的“民主一多元主义”的新实用主义美学特征。第三节分析论述了个人性格及生活经历对舒斯特曼新实用主义美学的影响。舒斯特曼性格中的“叛逆性”和“世俗性”不仅促使他从分析美学转向实用主义,而且决定了他对审美经验的快乐主义的强调。双重国籍以及在多元文化之间的旅行使舒斯特曼在美学上坚持一种多元主义的观点,因此他强调多种文化传统的美学理论都具有其相应的价值。
本文的第二章主要探讨了舒斯特曼的美学解释学问题。解释学是舒斯特曼学术生涯中一直持续关注的话题,它不仅构成了舒斯特曼美学思想的一个重要组成部分,而且他对解释学的基本观点也反映着舒斯特曼美学思想的基本特征。舒斯特曼主张多元论的解释观,在他看来,在解释的逻辑地位、解释中的理性作用以及解释的形式等方面一向存在着不同的观点,各种解释的理论不存在价值上的优劣,面对多元的解释实践,唯一明智的做法是在理论上采取多元主义的观点。在分析和批评了分析美学以及解构主义对解释的各种观点后,舒斯特曼主张解释的目的不是去揭示某种客观的真理,而是去生成和制造关于文本的意义。他将这种解释理论看作是实用主义解释观,并称作为表演性的解释。作为实用主义者的舒斯特曼赞同解释普遍主义对基础主义的反对,也赞同解释的普遍性和不可替代的作用。但是他反对将人类所有的智力活动都包含在解释之中的激烈主张,认为这种信仰与他主张的适度的解释普遍主义相比带有更大的危险性。在他看来,解释学应该为解释之下或之前的事物留下存在的空间。舒斯特曼反对将人类的一切智力经验都归之为反思性、语言的解释性经验,这便为处于解释之前的、未经过反省的、无意识的、非语言的理解及经验提供了存在的合法性和价值,同时也为他后来提出的“身体美学”从理论上做好了铺垫。
本文的第三章主要探讨了舒斯特曼新实用主义美学的艺术理论。舒斯特曼对艺术理论的研究主要集中在艺术定义的分析与批评、将艺术定义为戏剧化的理论尝试以及通俗艺术的审美辩护等三个方面。其中,舒斯特曼使用了分析美学的语言分析策略分析批评了美学历史上出现的各种艺术定义;对艺术的戏剧化定义体现着他所主张的“诗学的、建构的”实用主义美学精神;对通俗艺术的审美辩护则反映了他美学思想中的改良主义和民主主义的特征。舒斯特曼认为本质主义的艺术定义无法提供一个在共同和个别两方面都适用于所有艺术作品的本质,也不能提供满足某物是艺术作品而不是普通物件的充分必要条件。“包装型”艺术定义只是将以往的艺术品成功地捆绑在一起,从而将艺术品和非艺术品区分开来,但是对艺术的经验与实践却不能起到积极的增进或改善作用。“艺术即经验”(杜威)的定义与上述两种定义相比具有较大的优越性,因为它可以使人们的注意力迅速地集中在艺术的审美经验的纬度上。美学研究长期以来存在着自然主义和历史主义两种倾向,舒斯特曼认为将艺术定义为“戏剧化”可以有效地调和存在于这两种倾向之间的冲突与对立,可以兼顾到二者对艺术的规定性。在他看来,这个定义不仅可以把握与强调艺术的某些重要与独特的品质,更为重要的是它可以改善与提高人们对艺术的理解与欣赏。因为这个定义既尊重了历史主义对艺术作为一种特定实践的要求,又兼顾了自然主义对艺术植根于人性中的自然需要的呼吁。既含有从制度方面定义艺术的优点,又带有对艺术功能性的评价。舒斯特曼教授还是第一个从审美价值方面为通俗艺术辩护的美学家。他对通俗艺术的审美辩护凸显了通俗艺术的审美价值,并将美学的合法性赋予了这类一向遭受美学家们批评指责的艺术。他试图通过对这类艺术的美学分析从而改良通俗艺术的制作和接受状况,并消除长期以来设立在通俗艺术和高级艺术之间的界限,这显著地体现了他美学思想中的民主精神。
本文的第四章论述了舒斯特曼新实用主义美学中的“身体美学”部分。身体美学(Somaesthetics)是舒斯特曼将希腊语的soma(身体)与英语的aesthetics(美学)结合在一起而创造出来的一个新的哲学及美学术语,他的意图是通过这个术语而建设一个新的哲学与美学学科。对身体的关注已经成为欧美众多国家文化领域的一个热点问题,而有关身体的各种理论处于散乱的、不成系统、毫无联系的状态。为了使众多的有关身体的研究在结构上连接起来并且将它们有效地整合起来,使身体的研究成为一个系统化的工程,舒斯特曼创造性地提出了这个术语。舒斯特曼借鉴了杜威对非语言的、非推论的直接性经验的强调和重视,并由此推论出身体经验的存在;在借鉴亚历山大和福柯的思想后初步阐述了身体呵护以及身体经验对于人、人的经验以及哲学的重要价值,由此为身体美学的提出做出了理论上的铺垫。在“身体美学”中,身体被看作是审美欣赏以及自我塑造的基地,身体美学致力于对身体经验以及如何使用身体的批评性的、改良性的研究。因此,身体美学也就包含了那些构成身体关怀以及身体改良的知识、话语、实践和身体训练等诸多的方式。身体美学具有三个基本的纬度:即分析的身体美学、实用主义的身体美学以及实践的身体美学。2000年以来,舒斯特曼相继发表了一系列的文章,分别从身体的审美经验、身体表象的美学与文化意味以及身体训练的美学意义等几个方面继续推动着身体美学的理论进展。
本文的结语部分主要探讨了舒斯特曼的新实用主义美学对建构中国当代美学的价值和意义。文章认为,舒斯特曼的新实用主义美学批评了现代美学建立的一系列原则,并且显示出与中国传统美学思想如孔子美学极大的亲和性,从而为我们提供了如何利用中国传统美学以及舒斯特曼新实用主义美学的有效途径。其次,舒斯特曼所采用的分析和谱系学-诗学的方法对我们而言具有更为重要的借鉴价值。最后,本文借鉴与吸收舒斯特曼对有机统一认识的基础上,尝试着地提出了动态的、多元的有机统一观。
Richard Shusterman is regarded as one of the foremost representative of the neo-pragmatism aesthetics who is becoming more and more popular on the international aesthetic forum today. His great contributions on aesthetics lie in his synthetic absorption of the two main schools of aesthetics—analytic aesthetics and deconstructive aesthetics. Through the synthesizing assimilation from the analyze aesthetics and deconstruction aesthetics, while using for the reference of the ideas of the classical pragmatist James and Dewey, Shusterman has formed his own new pragmatic aesthetics thoughts. His aesthetics comes down to many hot issues which are being discussed by the Europe and American academics, these issues including interpretation, aesthetic experiences, the definition of art, the organic unite and popular arts. Some propositions such as validity interpretation, dramatic art and somaesthetics which are brought forward by professor Shusterman have aroused the attentions of many aestheticians, and engendered great influence in the world academe. As to the construction of the current Chinese aesthetics, Shusterman's new pragmatism aesthetics is both a mirror and a bridge. As a mirror, it reflects the tendency of the development of the western aesthetics; meanwhile, the use of Chinese ancient aesthetics provides us a new approach and vision to reconsider it. As a bridge, his "somaesthetics" has aroused great attention of the world academics and his theories on aesthetics shall play a great role in constructing Chinese aesthetic thoughts.
Introduction is about the basic writing goal and an analysis of the difficult points of the thesis; Shusterman's influences on today's international; aesthetic forum and his views on neo-pragmatism. During the research, the author always feels confused on the distance problem. Although the existence of distance brings trouble to analyze and define the object topics, it also provide a space for the author to develop his own ideas. The first part of the introduction focuses on Shusterman's standpoints and logic on neo-pragmatism. It indicates that Shusterman chooses to stand on a mediate position between Neo- classical-pragmatism and Neo-analysis-pragmatism, that is to say, he not only agrees with the experience of the classical pragmatism thoughts but also absorb the "linguistic analysis" method of the analytic aesthetic pragmatism. Generally speaking, based on his "inclusive disjunctive' and his "either ...or" logic, Shusterman shows a mediate attitude between the two most popular philosophical traditions-analytic philosophy and deconstruction. This kind of attitude, on one hand, adds thick dialectic color to his perspectives and on the other hand, it also makes his thoughts become complex and relative.
Chapter one focuses on the way how Shusterman's neo-pragmatism is cultivated. Chapter one is consisted of three parts. Part one analyzes how Shusterman is influenced by the pragmatists' aesthetic thoughts, including the prosperous, declination and regeneration of American pragmatism. Frankly speaking, American pragmatism can be divided into two traditional periods—classical pragmatism period and neo-pragmatism period. The representatives of the first periods cover James and Dewey and the most important pragmatist of the second period is Rotty. There are also some differences between the two periods: the former emphasizes the importance of experience in philosophy and the latter emphasizes the important functions of linguistic narration to social practice. Despite the differences, there are also some similarities between the two trends for they are both anti-foundationalism and conceive in transforming realism through narration. Shusterman is defined as a neo-pragmatist because he analyzes and criticizes the two trends during his process of synthetism and absorption of the main themes of these two trends. The second part includes the genealogical system of the pragmatists established by Shusterman through narration. In his genealogical system of the pragmatists, he not only adds Emerson, Luke to the school of classical pragmatists, but also puts Narlson Goldman, Joserff Margrete, Rotty, and Stanley Fish into the neo-pragmatists school , and in this way, he successfully established a perfect, whole genealogical of the pragmatists, which embodies his unique " democratic-multiple" view on neo-pragmatism. Part three is an analysis of Shusterman' individual personality and his living experiences, which influenced his neo-pragmatism thoughts profoundly. His rebellion and secularity prompts him to transfer from analytic aesthetics to pragmatism, as well as determines his emphasis on the hedonistic on aesthetic experiences. His multiple views on aesthetics and positive view on the value of different aesthetic theories from different cultural conventions originated from his dual nationalism and his living experience in different cultural traditions
The second chapter of this dissertation is about Shusterman's interpretation theory. Interpretation, an issue which interests Shusterman the most in his critic career, is the most important ingredients in his neo-pragmatism thought, and it also indicates the character of his aesthetic views. Richard Shusterman on the plurism view on interpretation. In his opinion, although different critics have different perspectives on the logical position, the function of rationalism and the form of the interpretation, their theories on interpretation have values on the same level. Facing the plurism interpretation theories, the best way is to choose a plurism vision on interpretation theories. Through the analysis of the different visions on interpretation of the analytic and deconstruction aesthetics, Shusterman proposed his own aesthetic theory and he asserts that the purpose of interpretation as not to discover a certain objective truth but to cultivate and fabricate the meaning of the context. He defined this kind of view as pragmatist interpretation and called it performing interpretation. As a neo-pragmatist, Shusterman conceives in the objection of the general interpretation to the foundationlism as well as the generalism of interpretation and its undisplacable function. However, he opposes the opinion which concludes all the intellectual activities in interpretation and he believes this kind of view is more dangerous than his suitable interpretation generalism. According to Shusterman, Interpretation should leave room for the things before they are interpreted. He opposes the ideas which attributed all the intelligent experiences to the introspective and non linguistic interpretational experience, that is to say, he affirmed the logical and valuable existence of some kind of understandings before interpretation and the existence of understanding got from the un-introspective, un conscious , nonlinguistic experience and interpretation. His great contribution to interpretation also provides a good theory support to his somaesthetics.
Chapter three mainly focuses on Shusterman's artistic theory on neo-pragmatism. Shusterman's artistic theory concerned on mainly three parts: the definition of arts; the attempt to define art through the opera theory and the aesthetic defense on popular art. On the definition of art, Shusterman compares and analyzes different kinds of definitions on art with a method borrowing from analytic aesthetics. His attempt to define art through opera indicates his assertion on "poetic, constructive" pragmatist aesthetic views; on the other side, his aesthetic defense on popular art reflects the meliorate and democratic factors in his aesthetic thoughts. For Shusterman, the natural definition of art can not provide an explanation which is suitable to define both the common and the individual nature of the artistic aesthetic productions, and further this definition and not provide the necessary and sufficient condition which can prove a certain object is an artistic production or not. According to another definition on art, Wrapper definition, Shusterman asserts that although it distinguishes the artistic productions from the common objects by wrapping all the art productions together, it does no benefit to the experience and practice of art. Dewey's "Art as Experience" theory is better than the first two, for, it leads people's concentration to the aesthetic experiences. For a long time, the critics have done researches on aesthetics from the perspectives of naturalism and historicalism, so, in Shusterman's opinion, to define art as "dramatization" is a perfect way to conciliate the conflicts between these two trends and it also can cover the definition on art from the two schools. For Shusterman, this definition could not only convey the main and unique features of art, but also it has great role in reforming and promoting people's interpretation and appreciation of art, because this definition supports both the historical aesthetics who contends art is a special practice and the natural aesthetics who believes that art is rooted in the natural needs of the human needs. Furthermore, this definition is perfect in describing both the system and the function of art. Professor Shusterman is the first pragmatist who defenses popular aesthetics from the perspective s of aesthetic values. His defense mainly advocates the aesthetic value of the popular art and further he makes the popular art a logical part in aesthetics through his aesthetic analysis on this kind of art. He attempts to meliorate the producing process of the popular art and its receiving condition and to break the boundary between popular art and high art. This also to a large extent, indicates his democratic aesthetic thoughts
In chapter four, it discusses the portion of "somaethetics" of Shusteman's new pragmatism aesthetics. The word "somaesthetics" is created by Shusterman from the word "soma" in Hellenic and the word "aesthetics" in English. It is a new term in philosophy and aesthetics. Shusterman's intention is to build a new discipline in philosophy and aesthetics. In order to connect many researches on the body and make them into a systematic project, Shuterman creatively coins the term. He uses Dewey's stress and emphasize on the non-lingual, non-deductive and immediate experience, thus deducts the body experience. Aiming to make the vary researches on "body" united on structure and make the researches on "body" become a systematic project, Shusterman created the new term "somaesthetics". Shusterman agrees with Dewey's emphasis on the non-linguistic, non-deductive immediate experiences and he further deducts the existence of body experience, and at the same time, Shusterman also borrows the thoughts of Alexander and Foucoult in his analysis on the maintaining of body, the important values of body experience to people and people's experiences, and by doing so, Shusterman provides theory foundations for his "somaethetic aesthetics". Considering "body" as the base of aesthetic appreciation and self-shaped, Shusterman's "somaethetic aesthetics" mainly concerns the "body experience" and the way of using "body". So, in this sense, his "somaethetic aesthetics" covers the knowledge, discourse, practice and exercise which are related to the maintaining and promoting of body. Generally speaking, Shusterman's "somaethetic aesthetics" can be divided into three parts: analytic "somaethetic aesthetics", pragmatism "somaethetic aesthetics" and practical "somaethetic aesthetics". Since 2000, Professor Shusterman has published a lot of essays analyzing his "somaethetic aesthetics" from the perspectives of aesthetic experience, representative aesthetic and cultural significance, and the aesthetic significance of body exercises. His essays promote the theory development of his "somaethetic aesthetics" to a great extent.
The conclusion of the dissertation probes into the value and significance of Shusteman's new pragmatism aesthetics to the construction of the Chinese aesthetics in the contemporary. It believes that Shusterman's aesthetics criticize many principles of modem western aesthetics, and reveals great similarity, thus provides us available approach to make use of Chinese traditional aesthetics and his new pragmatism aesthetics. Meanwhile, the analytic and genealogical-poetic approaches that Shusterman adopts possess greater reference value for us. At the end of the dissertation, based on Shusterman's views on "organic unite", the author attempts to propose the "dynamic and pluralism organic unite" concept.
引文
[1]参看,The Journal of Speculative Philosophy,Vol.16,No.1,2002.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Marylsnd:Rwoman & Littlefield Publishers,Inc.),PP.202-231.
[1]彭锋,参看,《实用主义美学》[美]理查德·舒斯特曼著,彭锋译,北京,商务印书馆,2002年版。第11页。
[1]舒斯特曼 曾繁仁等:《身体美学:研究现状及其问题》,《学术月刊》,2007年第八期,第21-28页。
[1]参看爱德华·布洛《作为艺术因素与审美原则的“心理距离说”》,见《美学译文》第2期,中国社会科学出版社1982年版。
[2]罗蒂,《罗蒂和实用主义-哲学家对批评家的回应》[美]海尔曼.J.萨特康普/编,张国清译,商务印书馆2003年版,第97页。
[1]T.Rockmore,"On Classical and Neo-Analytic Forms of Pragmatism",Metaphilosophy vol.36,No.3,April,2005.
[2]Richard Shusterman,Surface and Depth.Dialectics of Criticism and Culture,(Ithaca:Cornell University Press,2002).P.191.
[1]Richard Shusterman.Pragmatist Aesthetics,Second Edition,(Matyland:Rwoman & Littlefield Publishers,Inc.),Introduction,P.X.《实用主义美学》的中译本将“inclusively disjunctive stance”翻译为“包括性析取立场”,这也就忽略了排斥的味道,故此本文选择了包容性的转折立场。参看,《实用主义美学》,商务印书观,2002年版,第4页。
[2]原文为“either P or q”,《实用主义美学》中翻译为“非此即彼”或“非p即q”两种方式。参看,《实用主义美学》,商务印书观,2002年版,第4页。在某些场合中,这种翻译方法也是恰当的。在另一些场合下用“或此或彼”也更为准确。
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),Introduction,P.Ⅹ.
[1]《牛津高阶英汉双解词典》第四版增补本,商务印书馆1997年版,第464页。
[2]彭锋,《实用主义美学》,中译者导言:分析与结构之间,商务印书观,2002年版,第21页。
[1]罗素:《西方哲学史》上卷,马元德译,商务印书馆1976年版,第5页。
[1]理查德.J.伯恩斯坦 美国实用主义:诸叙事的冲突,引自《罗蒂和实用主义》,海尔曼.J.萨特康普编,张国清译,第79页,北京,商务印书馆,2003年。
[2]The Cambridge Dictionary of Philosophy Second Edition,Cambridge University Press,1999,P730.
[3]罗素,《西方哲学史》下卷,商务印书馆1981年版,第369页。
[1]Richard J.Bernstein,The Resurgence of Pragmatism,Social Research,Vol.59,1992,P814.
[1]Richard J.Bernstein,The Resurgence of Pragmatism,Social Research,Vol.59,1992,P816.
[1]Richard J.Bernstein.The Resurgence of Pragmatism,Social Research,Vol.59,1992,P817.
[2]涂纪亮,《从古典实用主义到新实用主义》,人民文学出版社2006年版,第22页。
[1]Joseph Margolis,A Companion to Pragmatism,(Blackwell Publishing,2004),P4.
[1]Richard Shusterman,Pragmatism Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc,2002),P.ⅹⅵ.
[1]Richard Shusterman,Pragmatism,The Routledge Companion To Aesthetics Edited by Berys Gaut and Dominic Mclver Lopes,(London and New Rork,2001),PP.98-102.
[1]Richard Shusterman,Pragmatism,The Routledge Companion To Aesthetics Edited by Berys Gaut and Dominic Mclver Lopes,(London and New Rork,2001),PP.98-104.
[2]Richard Shusterman,Pragmatism Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc,2002),P.83.
[3]John Dewey,转引自Richard Shusterman,Pragmatist Aesthetics,Second Edition(Maryland:Rowman &Littlefield Publishers,Inc.2000)P.6.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition(Maryland:Rowman & Littlefield Publishers,Inc.2000)P.6.
[2]John Dewey,转引自 Richard Shusterman,Pragmatist Aesthetics,Second Edition(Maryland:Rowman &Littlefield Publishers,Inc.2000)P.288
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition(Maryland:Rowman & Littlefield Publishers,Inc.2000)P.9.
[1]John Dewey,Art as Experience,New York:Dover Publication,Inc.1958.P21.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition(Maryland:Rowman & Littlefield Publishers,Inc.2000)Pp.13-14.
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition(Maryland:Rowman & Littlefield Publishers,Inc.2000)Pp.10.
[1]Richard Shusterman,Aesthetics Experience:From Analysis to Eros,The Journal of Aesthetics and Art Criticism 64:2 Spring 2006.
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P130.
[1]Richard Shusterman,Pragmatist,Aesthetics,Second Edition(Maryland:Rowman & Littlefield Publishers,Inc.2000)Pp.169.
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P104.
[1]罗蒂,“介于黑格尔和达尔文之间的枉威”,引自,《罗蒂和实用主义》[美]海尔曼.J.萨特康普/编,张国清译,第30页,北京.商务印书馆,2003。
[2]参看,Richard Shusterman,Practicing Philosophy:Pragmatism and the Philosophical Life,(Published in Great Britain by Routledge,1997),P1.
[1]Richard Shusterman,Practicing Philosophy:Pragmatism and the Philosophical Life,(Published in Great Britain by Routledge,1997),P183.
[2]生活即审美》理查德.舒斯特曼著,彭锋等译,北京,北京大学出版社,2007年版,第99页。
[1]Antonia Soulez,Practice,Theory,Pleasure,and the Problems of Form and Resistance:Shusterman's Pragmatist Aesthetics,The Journal of Speculative Philosophy,Vol.16,NO.1,2002,P3.
[2]Antonia Soulez,Practice,Theory,Pleasure,and the Problems of Form and Resistance:Shusterman's Pragmatist Aesthetics,The Journal of Speculative Philosophy,Vol.16,NO.1,2002,P6.
[3]《生活即审美》理查德.舒斯特曼著,彭锋等译.北京.北京大学出版社.2007年版,第254页。
[4]《生活即审美》理查德.舒斯特曼著.彭锋等译,北京.北京大学出版社,2007年版.第253页。
[1]《生活即审美》理查德·舒斯特曼著,彭锋等译.北京,北京大学出版社,2007年版,第256页.
[1]参看,《生活即审美》理查德·舒斯特曼著,彭锋等译,北京,北京大学出版社,2007年版,第241-246页。
[1]汉斯-格奥尔格.加大默尔:《哲学解释学》,夏镇平、宋建平译,上海译文出版社2004版,第18页。
[1]威廉·詹姆斯:《实用主义》,陈羽纶、孙瑞禾译,北京商务印书馆,1997年版,第28页。
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism & Culture(Cronell University Press,2002).P34.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism & Culture(Cronell University Press,2002),P36.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism & Culture(Cronell University Press,2002),P37.
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism & Culture(Cronell University Press,2002),P38.
[1]Stevenson,Interpretation and Evaluation in Aesthetics,转引自 Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture,(Cornell University Press,2002),P39.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),P39.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),Pp41-42.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),P43.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),P45.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),P45.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),Pp46-47.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),P47.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),49.
[2]Richard Shusterman,Pragmatist Aesthetics,Rowman & Littlefield Publishers,Inc.2000,Pp92-93.
[1]Jerrold Levinson,The Pleasures of Aesthetics Cornell University Press,1996 Pp198-199.
[2]Richard shusterman,Surface and Depth,Cornell University Press,2002,P350.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.2000),P85.
[1]E.D.Hirsch,The Aims of Interpretation,(Chicago:University of Chicago Press,1978),Pp12-13.
[2]Richard Shusterman,Pragmatiat Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.2000),P86.
[1]Joseph Margolis,Art and Philosophy,(Atlantic Highlands,J.J.Humanities Press,1980),Pp111-159.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.2000),P87.
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Litttlefield Publishers,Inc.2000),P87.
[4]Harold Bloom,A Map of Misreading(Oxford University Press,1975),P3.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition(Rowman & Littlefield Publishers,Inc.2000),Pp89-90.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Rowman & Littlefield Publishers,Inc.2000),Pp90-91.
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Rowman & Littlefield Publishers,Inc.2000),P91.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Rowman & Littlefield Publishers,Inc.2000),P92.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Rowman & Littlefield Publishers,Inc.2000),P92.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Rowman & Littlefield Publishers,Inc.2000),P93.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P56.
[2]Bendetto Croce,Aesthetic as Science of Expression and General Linguistic,trans.Douglas Ainslie,(Macmillan 1992),P22.
[1]Bendetto Croce,Aesthetic as Science of Expression and General Linguistic,trans.Douglas Ainslie,(Macmillan 1992),Pp142-150.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P57.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P61.
[2]Bendetto Croce,Aesthetic as Science of Expression and General Linguistic,trans.Douglas Ainslie,Macmillan 1992,P126.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P61-62.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),Pp65-66.
[3]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P66.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P69.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),Pp66-67.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),Pp59-68.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P58.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Rowman & Littlefield Publishers,Inc),Pp249-250.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.)P115.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.)P116.
[2]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.)P117.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),Pp120-121.
[2]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.)P122.
[3]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.)P123.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P124.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),Ppl24-126.
[2]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P126.
[3]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P126.
[4]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),p125-128.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefieid Publishers,Inc.),P133.
[2]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P133.
[3]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),Pp133-134.
[4]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.)Pp133-134.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P129.
[2]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P29.
[1]Richard shusterman,Pragmatist,Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P130.
[2]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefieid Publishers,Inc.)Pp131-132.
[1]冯友兰,《中国哲学史新编》下卷.北京,人民出版社,1999年版,第2页。
[2]The New Oxford Dictionary of English,Oxford University Press 1998,P2016.
[1]George Dickie,Introduction to Aesthetics:An Analytic Approach,(New Rork,Oxford University Press,Inc.1997),P4.
[1]George Dickie,Introduction to Aesthetics:An Analytic Approach,(New Rork,Oxford University Press,Inc.1997),P50.
[2]理查德.舒斯特曼:《实用主义美学》.彭锋译,商务印书馆2002年版,第58-59页.
[1]Morris Weitz,"The Role of Theory in Aesthetics," reprinted in Francis Coleman,ed.,Contemporary Studies in Aesthetics(New Rork:McGraw-Hill,1968),Pp.84-89.
[2]George Dickie,Introduction to Aesthetics:An Analytic Approach,(New York,Oxford University Press,Inc.1997),P83.
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P38..
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P39.
[2]Arthur Danto,The Transfiguration of the Commonplace,转引自 Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P41.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P42.
[2]Richard Shusterman,Pragmatist Aesthetics.Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P43.
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefieid Publishers,Inc.),P43.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P44.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P50.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),Pp51-52.
[2]Richard Shusterman,Pragmatist Aesthetics.Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P53.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P46.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P47.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P51.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P53-55.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P227.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture.(New York:Cornell University Press.2002),P228.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P229.
[1]John Dewey,Experience and Nature(Carbondale:Southern Illinois University Press,1981),P269.
[2]杜威《艺术即经验》,高建平译,商务印书馆2005年版.第166页。
[1]Ralph Waldo Emerson,转引自 Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),Pp230-231.
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P231.
[1]Pierre Bourdieu,"the Genesis of the Pure Aesthetics," in Ricard Shusterman(ed),Analytic Aesthetics(Oxford:Blackwell,1989),148-49.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P233.
[2]Friedrich Nietzsche,"Richard Wagner in Bayreuth," 转引自 Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P227.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P227.
[2]Chambers 21st Century Dictionary,(Cambridge:Chambers,1996),转引自 Richard Shusterman,Surface &Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P234.
[1]Richard Shusterman,Surface & & Depth:Dialectics of Criticsm and Culture.(New York:Cornell University Press,2002),P235.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P236.
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P237,
[3]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P237.
[1]舒斯特曼宁愿使用通俗(popular)而不是(mass)作为这类艺术的修饰语,他认为前者带有积极的内涵,而后者意味着一种无差别的和典型的非人性的聚集.见Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P314.
[1]参见David Novitz,"Aesthetics of Popular Art",in Jerrold Levinson ed.,in The Oxford Handbood of Aesthetics,P733.
[2]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P202.
[1]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P212.
[2]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P214.
[3]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P169.
[1]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P169-170.
[1]John Dewey:Art as Experience,(The Berkley Publishing Group,Published by the Penguin Croup Inc.),P9-15.
[2]John Dewey:Art as Experience,(The Berkley Publishing Group,Published by the Penguin Group Inc.),P194-195.
[1]Alexander Nehamas,Richard Shusterman on Pleasure and Aesthetic Experience,The Journal of Aesthetics and Art Criticism,Winter 1998,P51.
[1]Alexander Nehamas,Richard Shusterman on Pleasure and Aesthetic Experience,The Journal of Aesthetics and Art Criticism,Winter 1998,P51.
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cronell University Press,2002),P130.
[1]Herbert J.Gans,Popular Culture and High Culture:An Analysis and Evaluation of Taste,(New Rork:Basic,1974),pp.126-129.
[2]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P168.
[3]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),PP171-177.
[1]Richard Shusterman:Pragmatist,Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),PP177-200.
[1]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P172.
[2]詹姆斯:《实用主义》,商务印书馆1979年版,第37页.
[3]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P188.
[1]Woflgang Weitz,Undoing,Aesthetics,Translated by Andrew Inkpin,(London:Sage publication,1997),p.73.
[1]《实用主义美学》,[美]理查德.舒斯特曼著.彭锋译,北京:商务印书馆,2002年版,第3页。
[1]Richard Shusterman,Performing Live,(New York,Cronell Univeraity Press,2000),P250.
[1]Richard shusterman,Performing Live.(New York:Cornell University Press.2000).P250
[2]Richard shusterman,Performing Live.(New York:Cornell University Press.2000).P162.
[1]Richard shusterman,PerformingLive,(New York:Cornell University Press,2000),P163.
[2]Richard Rorty,Consequence of Pragmatism,(Minneapolis:University of Minnesota Press,1982),P72
[1]Richard Shusterman,Practicing Philosophy,(New York:Routledge Press,1997),P158.
[1]杜威《经验和自然》,傅统先译,商务印书馆,1960年版,第22页。
[2]英文的contextual通常被翻译为语境,但这个术语的含义不仅包含了文本中的上下文关系,而且也包括构成一个事件、命题或思想的环境或背景。对于这个英文的详细理解,可以查阅1998年出版的The New Oxford Dictionary of English,上海外语出版社,第396页。笔者是在较为宽泛的意义上使用这个术语的。
[1]Richard Shusterman,Practicing Philosophy,(New York:Routledge Press,1997),Pp163-164.
[2]Richard Shusterman,Practicing Philosophy,(New York:Routledge Press,1997),P165.
[1]Richard Shusterman,Practicing Philosophy,(New York:Routledge Press,1997),,Pp165-166.
[2]《实用主义美学》,舒斯特曼著,彭锋译,商务印书馆,2002年版,第87-88页。
[1]Richard Shusterman,Practicing Philosophy,(New York:Routledge Press,1997),P167.
[1]Richard Shusterman,Practicing Philosophy,(New York:Routledge Press,1997),P169.
[1]Ibid,Pp35-36.
[2]冯发兰,《中国哲学史新编》上,人民出版社,2007年3月第二版,第9页。
[1]《实用主义美学》舒斯特曼著,彭锋译,第354,北京:商务印书馆,2002年。
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P272.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P272.
[2]表象英文为representational,《实用主义美学》的中译本将其翻译为“外观”,二者的基本含义大致相同,但笔者认为表象更为符合美学中的习惯用语。
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P275.
[4]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P276.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P262.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P265.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P264.
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P267.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000).P268.
[2]《实用主义美学》,舒斯特曼著,彭锋译,北京:商务印书馆,2002年版,第356页。
[3]Richard Shusterman,Pragmatist Aeathetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),Pp267-271.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P275.
[1]Richard Shusterman,Pragmatiat Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P279.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P279.
[3]《实用主义美学》,舒斯特曼著,彭锋译,北京:商务印书馆,2002年版,第362页。
[1]Richard Shusterman,Performing Live,(Ithaca:Cornell University Press,2000),P159.
[1]Richard Shusterman,Performing Live,(Ithaca:Cornell University Press,2000),P161.
[2]Thomas Leddy,Shusterman 'a Pragmatist Aesthetics,The Jounral of Speculative Phyilosophy,Vol.16.1,2002,P15.
[1]舒斯特曼《生活即审美》,彭锋译,第165页,北京:北京大学出版社,2007。
[2]舒斯特曼《生活即审美》,彭锋译,第169页,北京:北京大学出版社,2007。
[1]维特根斯坦,转引自舒斯特曼《生活即审美》,彭锋译,第172页,北京:北京大学出版社,2007。
[2]舒斯特曼:《生活即审美》,彭锋译,第174页,北京:北京大学出版社,2007。
[1]维特根斯坦,转引自舒斯特曼《生活即审美》,彭锋译,第175页,北京:北京大学出版社,2007。
[2]罗素《西方哲学史》下卷,第386页,北京:商务印书馆,2004。
[1]舒斯特曼《生活即审美》,彭锋译,第177页,北京:北京大学出版社,2007。
[1]叔本华:《作为意志和表象的世界》,第250页,北京:商务印书馆,1982。
[2]Richard Shusterman,Somaesthetics and Burke's Sublime,British Journal of Aesthetics,Vol.45,October 2005,P325.
[1]Richard Shusterman,Somaesthetics and Burke's Sublime,British Journal of Aesthetics,Vol.45,October 2005,P327.
[2]Antonia Soulez,Practice,Theory,Pleasure,and the Problems of Form snd Resistance:Shusterman's Pragmatist Aesthetics,The Journal of Speculative Philosophy,Vol.16,NO.1,2002,P3.
[1]Richard Shustenman,Somaesthetics and Burke's Sublime,British Journal of Aesthetics,Vol.45,October 2005,P329.
[2]Richard Shusterman,Somaesthetics and Burke's Sublime,British Journal of Aesthetics,Vol.45,October 2005,P339.
[1]舒斯特曼的“Thinking Through the Body,Educating for the Humanities:A Plea for somaesthetics”(《通过身体思考,人文学科的教育:身体美学的呼吁》)一文发表在美国的“The Journal of Aesthetic Education”(《审美教育杂志》2006年第一期上。
[1]鲍桑葵《美学史》,张今译,商务出版社,第3页,1985。
[1]Richard Shustemsn,Pragmatism and the Limits of Philosophy,(Metaphilosophy LLc and Blackwell Publishing Ltd.2004),P15.
[2]理查德.舒斯特曼《实用主义美学》,彭锋译,商务印书馆,2002年版,第三页。
[1]Richard Shusteman,Pragmatism and the Limits of Philosophy,(Metaphilosophy LLc and Blackwell Publishing Ltd.2004),P22
[1]Richard Shusteman,Pragmatism and the Limits of Philosophy,(Metaphilosophy LLc and Blackwell Publishing Ltd.2004),P30.
[1]Richard Shusterman,Practicing Philosophy,(New York:Routledge Published,1997),P11.
[1]Adorno,T.W.Aesthetic Theory,(London:Rouledge,1984),P18-21.
[2]Richard Shusteman,Pragmatism and the Limits of Philosophy,(Metaphilosophy LLc and Blackwell Publishing Ltd.2004),P31.
[1]Richard Shusteman,Pragmatism and the Limits of Philosophy,(Metaphilosophy LLc and Blackwell Publishing Ltd.2004),P31.
[2]John Dewey,The later Works,Volume 7,(Southern Illinois University Press,1989),P307.
[1]Richard Shusteman,Pragmatism and the Limits of Philosophy,(Metaphiloanphy LLc and Blackwell Publishing Ltd.2004),P32.
[1]《中国哲学简史》,冯友兰著,赵复三译,天津社会科学出版社2007年版,第543页。
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P192.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002).Pp192-193,
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),Pp194-196.
[1]冯友兰《中国哲学新编》,人民出版社,第561页,2003。
[1]参阅李泽厚\刘纲纪主编:《中国美学史》,第一卷,20-34页,北京,中国社会科学出版社,1984。
[2]冯友兰《中国哲学简史》,赵复三译,第563页,天津社会科学出版社,2007。
[1]曾繁仁《生态存在论美学论稿》,第228-229页,吉林人民出版社,2003。
[1]参看Richard Shuaterman,"Analytic Aesthetics,Literary Theory,and Deconstruction," Monist 69(1986),22-38,and "Deconstruction and Analysis:Confrontation and Convergence," British Journal of Aesthetics 26(1986),311-27.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Msryland:Rowrnan & Littlefield Publishers,Inc.),P.66.
[2]Moore,转引自Richard Shusterman,Pragmatist Aeathetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P.67..
[3]参看,Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P.63.
[1]注·英文中的“identity”在不同的语境中可以被翻译为汉语的“身份”,“相似性”、“共同性”和“统一性”等词汇,在这里我们还是用英文来表示。在论文的其它部分根据语境分别翻译为“身份”和“统一性”,因为“统一性”与“身份”具有因果的关系。
[2]Rlchard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P.83..
1.Richard Shusterman,The Object of Literary Criticism,Amsterdam:Rodopi,1984.
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3.Richard Shusterman,Analytic Aesthetics,Oxford:Blackwell,1989.
4.Richard Shusterman,Practicing Philosophy:Pragmatism and The philosophical Life New Rork:Routleedge,1997.
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6.Richard Shusterman,Surface and Depth,Ithaca:Cornell University Press,2002.
7.Richard Shusterman,The Range of Pragmatism and The Limits of Philosophy,Oxford:Blackwell,2004.
8.Richard Shusterman,The Logic of Interpretation,in Philosophical Quartely,1978.
9.Richard Shusterman,The Identity of the Work of Art,in Philosophicla Inquiry,1980.
10.Richard Shusterman,Analytic Aesthetics,Literary Theory and Deconstrcution,in The Monist,1986.
11.Richard Shusterman,Deconstruction and Analysis:Confrontation and Convergence,in British Journal of Aesthetics,1986.
12.Richard Shusterman,Poetics and Recent Analytic Aesthetics,in Poetics Today,1986.
13.Richard Shusterman,Analytic Aesthetics:Retrospect and Prospect,in Journal of Aesthetics and Art Criticism,1987.
14.Richard Shusterman,Croce on Interpretation:Deconstruction and Pragmatism,in New Literary History,1988.
15.Richard Shusterman,Of the Scandal of Taste:Social Privilege as Nature in the Aesthetic Theories of Hume and Kant,in Philosophical Froum,1989.
16.Richard Shusterrnan,Postmodemist Aestheticism:A New Moral Philsophy,in Theory,Culture & Society,1989.
17.Richard Shusterman,Interpretation,Intention,and Truth,in Journal of Aesthetics and Art Criticism,1988.
18.Richard Shusterman,Beneath Interpretation,Against Hermeneutic Holism,in The Monist,1990.
19.Richard Shusterman,Form and Funk:The Aestheitc Challenge of Popular Art,in British Journal of Aesthetics,1991.
20.Richard Shusterman,The Fine Art of Rap,in New Literary History,1991.
21.Richard Shusterman,Pragmatism and Perspectivism on Organic Wholes,in Journal of Aesthetics and Art Criticism,1992.
22.Richard Shusterman,Aesthetics Between Nationalism and Internationalism,in Journal of Aesthetics and Art Criticism,1993.
23.Richard Shusterman,Pragmatism and Liberalism between Dewey and Rorty,in Political Theory,1994.
24.Richard Shusterman,On Analysing Analytic Aesthetics,in British Journal of Aestheitcs,1994.
25.Richard Shusterman,Popular Art and Eduction,in Studies in Philosophy and Education,1995.
26.Richard Shusterman,Dewey on Experience:Foundation or Reconstruction? In Philosophical Forum,1994.
27.Richard Shusterman,The End of Aesthetic Experience,in Journal of Aesthetics and Art Criticism,1997.
28.Richard Shusterman,Somesthetics and The Body/Media Issue,in Body and Society,1997.
29.Richard Shusteman,Interpretation,Pleasure,and Value in Aesthetic Experience,in Journal of Aesthetics and Art Criticism,1998.
30.Richard Shusterman,Pragmatist Aesthetics:Roots and Radicalism,in The Critical Pragmatism of Alaine Locke,1999.
31.Richard Shusterman,Moving Truth:Affect and Authenticity in Country Musicals,in Journal of Aesthetics and Art Criticism,1999.
32.Richard Shusterman,Somaesthetics:A Disciplinary Proposal,in Journal of Aesthetics and Art Criticism,1999.
33.Richard Shusterman,Somaesthetics and Care of the Self:The Case of Foucault,in Monist,2000.
34.Richard Shusterman,Art as Dramatization,in Journal of Aesthetics and Art Criticism,2001.
35.Richard Shusterman,Pragmatism and Criticism:A Response to Three Critics of Pragmatist Aesthetics,in Journal of Speculative Philosophy,2002.
36.Richard Shusterman,Somaesthetics and The Second Sex:A Pragmatist Reading of a Feminist Classic,in Hypatia,2003.
37.Richard Shusterman,Pragmatism Between Aesthetic Experience and Aesthetic Education,in Studies in Philosophy and Education,2003.
38.Richard Shusterman,Definition,Dramatization,and Rasa,in The Journal of Aesthetics and Art Criticism,2003.
39.Richard Shusterman,Entertainment:A Question for Aesthetics,in British Journal of Aesthetics,2003,
40.Richard Shusterman,Pragmatism and East-Asian Thought,in Metaphilosophy,2004.
41.Richard Shusterman,Complexities of Aesthetic Experience:Response to Johnston,in Journal of Aesthetic Education,2004.
42.Richard Shusterman,Making Sense and Changing Lives:Directions In Contemporary Pragmatism,in Journal of Speculative Philosophy,2005.
43.Richard Shusterman,Aesthetic Experience:From Analysis to Eros,in Journal of Aesthetics and Art Criticism,2006.
44.Richard Shusterman,Asian Ars Erotica and the Questions of Sexual Aesthetics,In Journal of Aesthetics and Art Criticism,2006.
45.Richard Shusterman,Thinking Through the Body,Educating for the Humanities;A Plea for Somaesthetics,in Journal of Aesthetic Education,2006.
46.Alexander Nehams,Richard Shusterman on Pleasure and Aesthetic Experience,in The Journal of Aesthetics and Art Criticism,1998.
47.Antonia Soulez,Practice,Theory,Pleasure,and the Problems of Form and Resistance:Shusterman 's Pragmatist Aesthetics,in The Journal of Speculative philosophy,2002.
48.Arnold Isenberg,"Analytical philosophy and the Study of Art',Journal of Aesthetics and Art Criticism,1987.
49.Arthur Danto,The Transfiguration of the Commonplace,Cambridge,mass:Harvard University Press,1981.
50.Arthur Danto,After the End of Art,Princeton:Princeton University Press,1997.
51.Arthur Danto,The Madonna of the Future:Essays in a Pluralistic Artworld,New York:Farrar,Straus,and Giroux,2000.
52.E.D.Hirsch,Hirsch,Validity in Interpretation,New Haven:Yale University Press,1967.
53.George Dickie,Aesthetics,Indianapolis:Bobbs-Merrill,1971.
54.George Dickie,Introduction to Aesthetics--An Analytic Approach,New York:Oxford University Press,Inc.1997.
55.Harold Bloom,A Map of Misreading,New York:Oxford University Press,1975.
56.John Dewey,Experience and Nature,New York:Dover Publication,Inc.1958.
57.John Dewey,Art as Experience,New York:Penguin Group,1934.
58.Joseph Margolis,Art and Philosophy,Atlantic Highlands,N.J.:Humanities Press,1980.
59.Joseph Margolis,Interpretation:Radical but Not Unruly,Berkeley:University of Minnesota Press,1982.
60.Joseph Margolis,What,After All,Is a Work of Art? University Park:Pennsylvania State of University Press,1998.
61.Joseph Margolis,Reinventing Pragmatism American Philosophy at the End of the Twentieth Century,Ithaca:Cornell University Press,2002.
62.Monroe Beardsley,The Possibility of Criticism,Detroit:Wayne State University Press,1970.
63.Monroe Beardsley,Aesthetics from Classical Greece to the Present,New York:Macmillan,1966.
64.Nelson Goodman,Ways of World making,Indianapolis:Hackett Publishing Company,1978.
65.Nelson Goodman,Of Mind and Other Matters,Cambridge,Mass:Harvard University Press,1984.
66.Paul C.Taylor,The Two-Dewey Thesis,Continued:Shusterman's Pragmatist Aesthetics,in The Journal of Speculative Philosophy,2002.
67.Pierre Bourdieu,The Logic of Practice,Cambridge:Polity Press,1990.
68.Rober Stecket,Artworks:Definition,Meaning,Value,University Park:Pennsylvania State University Press,1997.
69.Richard Rorty,Philosophy and the Mirror of Nature,Princeton:Princeton University Press,1979.
70.Richard Rorty,Consequences of Pragmatism,Minnesota:the University of Minnesota Press,1982.
71.Richard Wollheim,Art and Its Objects,Harmondsworth:Penguin,1975.
72.Stanley Fish,Is There a Text in This Class? Cambridge,Mass:Harvard University Press,1980.
73.Terry Eagleton,The Ideology of the Aesthetic,Oxford:Basil Blackwell Ltd,1990.
74.Thomas Leddy,Shusterman's Pragmatist Aesthetics,in The Journal of Speculative Philosophy,2002.
75.T.W.Adomo,Aesthetic Theory,London:Routledge & Kegan Paul,1984.
76.Wolfgang Welsch,Undoing Aesthetics,Trans,Andrew Inkpin,Oaks:SAGE Publications Inc.1997.
[美]理查德·舒斯特曼《实用主义美学》,彭锋译,北京:商务印书馆,2002。
[美]舒斯特曼《哲学实践》,彭锋等译,北京:北京大学出版社,2002。
[美]理查德·舒斯特曼《生活即审美》,彭锋等译,北京:北京大学出版社,2007。
[美]杜威《经验与自然》,傅统先译,北京:商务出版社,1960。
[美]海尔曼·J.萨特康普编《罗蒂和实用主义》,张国清译,北京:商务印书馆,2003年。
[美]理查德·罗蒂《后哲学文化》,黄勇编译,上海:上海译文出版社,2004。
[美]理查德·罗蒂《偶然、反讽与团结》,徐文瑞译,北京:商务印书馆,2003。
[美]理查德·罗蒂《哲学和自然之镜》,李幼蒸译,北京:商务印书馆,2004。
[美]赫大维 安乐哲《通过孔子而思》,何金俐译,北京:北京大学出版社,2005。
[美]威廉·詹姆士《实用主义》,陈羽伦 孙瑞禾译,北京:商务印书馆,1997。
[德]汉斯-格奥尔格·加大默尔《哲学解释学》,夏镇平 宋建平议,上海:上海译文出版社,2004。
[德]汉斯-格奥尔格·加大默尔《真理与方法》,洪汉鼎译,上海:上海译文出版社,2004。
[德]康德《判断力批判》上卷,宗白华译,北京:商务印书馆,1993。
[德]黑格尔《美学》第一卷,朱光潜译,北京:商务印书馆,2004。
[德]席勒《美育书简》,徐恒醇译,北京:中国文联出版社,2004。
[德]海德格尔《存在与时间》,陈嘉映、王太庆译,北京:三联书店,1999。
[法]马克·西门尼斯《当代美学》,王洪一译,北京:文化艺术出版社,2005。
[英]罗素《西方哲学史》(上、下),何兆武 李约瑟译,北京:商务印书馆,2004。
[英]鲍桑葵《美学史》,张今译,北京:商务印书馆,1985。
冯友兰《中国哲学史新编》(上、中、下),北京:人民出版社,1999。
冯友兰《中国哲学简史》(上、下),赵复三译,天津:天津社会科学出版社,2007。
李泽厚 刘纲纪《中国美学史》(先秦两汉编),安徽文艺出版社,1995。
刘放桐《现代西方哲学》(上、下),北京:人民出版社,1990。
图纪亮《从古典实用主义到新实用主义》,北京:人民出版社,2006
朱狄《当代西方艺术哲学》,北京:人民出版社,1994。
朱光潜《西方美学史》,(上、下),北京:人民文学出版社,1979。
曾繁仁《生态存在论美学论稿》,长春:吉林人民出版社,2003。
曾繁仁《美学之思》,济南:山东大学出版社,2003。
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Marylsnd:Rwoman & Littlefield Publishers,Inc.),PP.202-231.
[1]彭锋,参看,《实用主义美学》[美]理查德·舒斯特曼著,彭锋译,北京,商务印书馆,2002年版。第11页。
[1]舒斯特曼 曾繁仁等:《身体美学:研究现状及其问题》,《学术月刊》,2007年第八期,第21-28页。
[1]参看爱德华·布洛《作为艺术因素与审美原则的“心理距离说”》,见《美学译文》第2期,中国社会科学出版社1982年版。
[2]罗蒂,《罗蒂和实用主义-哲学家对批评家的回应》[美]海尔曼.J.萨特康普/编,张国清译,商务印书馆2003年版,第97页。
[1]T.Rockmore,"On Classical and Neo-Analytic Forms of Pragmatism",Metaphilosophy vol.36,No.3,April,2005.
[2]Richard Shusterman,Surface and Depth.Dialectics of Criticism and Culture,(Ithaca:Cornell University Press,2002).P.191.
[1]Richard Shusterman.Pragmatist Aesthetics,Second Edition,(Matyland:Rwoman & Littlefield Publishers,Inc.),Introduction,P.X.《实用主义美学》的中译本将“inclusively disjunctive stance”翻译为“包括性析取立场”,这也就忽略了排斥的味道,故此本文选择了包容性的转折立场。参看,《实用主义美学》,商务印书观,2002年版,第4页。
[2]原文为“either P or q”,《实用主义美学》中翻译为“非此即彼”或“非p即q”两种方式。参看,《实用主义美学》,商务印书观,2002年版,第4页。在某些场合中,这种翻译方法也是恰当的。在另一些场合下用“或此或彼”也更为准确。
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),Introduction,P.Ⅹ.
[1]《牛津高阶英汉双解词典》第四版增补本,商务印书馆1997年版,第464页。
[2]彭锋,《实用主义美学》,中译者导言:分析与结构之间,商务印书观,2002年版,第21页。
[1]罗素:《西方哲学史》上卷,马元德译,商务印书馆1976年版,第5页。
[1]理查德.J.伯恩斯坦 美国实用主义:诸叙事的冲突,引自《罗蒂和实用主义》,海尔曼.J.萨特康普编,张国清译,第79页,北京,商务印书馆,2003年。
[2]The Cambridge Dictionary of Philosophy Second Edition,Cambridge University Press,1999,P730.
[3]罗素,《西方哲学史》下卷,商务印书馆1981年版,第369页。
[1]Richard J.Bernstein,The Resurgence of Pragmatism,Social Research,Vol.59,1992,P814.
[1]Richard J.Bernstein,The Resurgence of Pragmatism,Social Research,Vol.59,1992,P816.
[1]Richard J.Bernstein.The Resurgence of Pragmatism,Social Research,Vol.59,1992,P817.
[2]涂纪亮,《从古典实用主义到新实用主义》,人民文学出版社2006年版,第22页。
[1]Joseph Margolis,A Companion to Pragmatism,(Blackwell Publishing,2004),P4.
[1]Richard Shusterman,Pragmatism Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc,2002),P.ⅹⅵ.
[1]Richard Shusterman,Pragmatism,The Routledge Companion To Aesthetics Edited by Berys Gaut and Dominic Mclver Lopes,(London and New Rork,2001),PP.98-102.
[1]Richard Shusterman,Pragmatism,The Routledge Companion To Aesthetics Edited by Berys Gaut and Dominic Mclver Lopes,(London and New Rork,2001),PP.98-104.
[2]Richard Shusterman,Pragmatism Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc,2002),P.83.
[3]John Dewey,转引自Richard Shusterman,Pragmatist Aesthetics,Second Edition(Maryland:Rowman &Littlefield Publishers,Inc.2000)P.6.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition(Maryland:Rowman & Littlefield Publishers,Inc.2000)P.6.
[2]John Dewey,转引自 Richard Shusterman,Pragmatist Aesthetics,Second Edition(Maryland:Rowman &Littlefield Publishers,Inc.2000)P.288
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition(Maryland:Rowman & Littlefield Publishers,Inc.2000)P.9.
[1]John Dewey,Art as Experience,New York:Dover Publication,Inc.1958.P21.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition(Maryland:Rowman & Littlefield Publishers,Inc.2000)Pp.13-14.
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition(Maryland:Rowman & Littlefield Publishers,Inc.2000)Pp.10.
[1]Richard Shusterman,Aesthetics Experience:From Analysis to Eros,The Journal of Aesthetics and Art Criticism 64:2 Spring 2006.
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P130.
[1]Richard Shusterman,Pragmatist,Aesthetics,Second Edition(Maryland:Rowman & Littlefield Publishers,Inc.2000)Pp.169.
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P104.
[1]罗蒂,“介于黑格尔和达尔文之间的枉威”,引自,《罗蒂和实用主义》[美]海尔曼.J.萨特康普/编,张国清译,第30页,北京.商务印书馆,2003。
[2]参看,Richard Shusterman,Practicing Philosophy:Pragmatism and the Philosophical Life,(Published in Great Britain by Routledge,1997),P1.
[1]Richard Shusterman,Practicing Philosophy:Pragmatism and the Philosophical Life,(Published in Great Britain by Routledge,1997),P183.
[2]生活即审美》理查德.舒斯特曼著,彭锋等译,北京,北京大学出版社,2007年版,第99页。
[1]Antonia Soulez,Practice,Theory,Pleasure,and the Problems of Form and Resistance:Shusterman's Pragmatist Aesthetics,The Journal of Speculative Philosophy,Vol.16,NO.1,2002,P3.
[2]Antonia Soulez,Practice,Theory,Pleasure,and the Problems of Form and Resistance:Shusterman's Pragmatist Aesthetics,The Journal of Speculative Philosophy,Vol.16,NO.1,2002,P6.
[3]《生活即审美》理查德.舒斯特曼著,彭锋等译.北京.北京大学出版社.2007年版,第254页。
[4]《生活即审美》理查德.舒斯特曼著.彭锋等译,北京.北京大学出版社,2007年版.第253页。
[1]《生活即审美》理查德·舒斯特曼著,彭锋等译.北京,北京大学出版社,2007年版,第256页.
[1]参看,《生活即审美》理查德·舒斯特曼著,彭锋等译,北京,北京大学出版社,2007年版,第241-246页。
[1]汉斯-格奥尔格.加大默尔:《哲学解释学》,夏镇平、宋建平译,上海译文出版社2004版,第18页。
[1]威廉·詹姆斯:《实用主义》,陈羽纶、孙瑞禾译,北京商务印书馆,1997年版,第28页。
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism & Culture(Cronell University Press,2002).P34.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism & Culture(Cronell University Press,2002),P36.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism & Culture(Cronell University Press,2002),P37.
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism & Culture(Cronell University Press,2002),P38.
[1]Stevenson,Interpretation and Evaluation in Aesthetics,转引自 Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture,(Cornell University Press,2002),P39.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),P39.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),Pp41-42.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),P43.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),P45.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),P45.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),Pp46-47.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),P47.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism & Culture(Cornell University Press,2002),49.
[2]Richard Shusterman,Pragmatist Aesthetics,Rowman & Littlefield Publishers,Inc.2000,Pp92-93.
[1]Jerrold Levinson,The Pleasures of Aesthetics Cornell University Press,1996 Pp198-199.
[2]Richard shusterman,Surface and Depth,Cornell University Press,2002,P350.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.2000),P85.
[1]E.D.Hirsch,The Aims of Interpretation,(Chicago:University of Chicago Press,1978),Pp12-13.
[2]Richard Shusterman,Pragmatiat Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.2000),P86.
[1]Joseph Margolis,Art and Philosophy,(Atlantic Highlands,J.J.Humanities Press,1980),Pp111-159.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.2000),P87.
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Litttlefield Publishers,Inc.2000),P87.
[4]Harold Bloom,A Map of Misreading(Oxford University Press,1975),P3.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition(Rowman & Littlefield Publishers,Inc.2000),Pp89-90.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Rowman & Littlefield Publishers,Inc.2000),Pp90-91.
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Rowman & Littlefield Publishers,Inc.2000),P91.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Rowman & Littlefield Publishers,Inc.2000),P92.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Rowman & Littlefield Publishers,Inc.2000),P92.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Rowman & Littlefield Publishers,Inc.2000),P93.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P56.
[2]Bendetto Croce,Aesthetic as Science of Expression and General Linguistic,trans.Douglas Ainslie,(Macmillan 1992),P22.
[1]Bendetto Croce,Aesthetic as Science of Expression and General Linguistic,trans.Douglas Ainslie,(Macmillan 1992),Pp142-150.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P57.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P61.
[2]Bendetto Croce,Aesthetic as Science of Expression and General Linguistic,trans.Douglas Ainslie,Macmillan 1992,P126.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P61-62.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),Pp65-66.
[3]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P66.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P69.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),Pp66-67.
[1]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),Pp59-68.
[2]Richard shusterman,Surface and Depth:Dialectics of Criticism and Culture,(Cornell University Press,2002),P58.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Rowman & Littlefield Publishers,Inc),Pp249-250.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.)P115.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.)P116.
[2]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.)P117.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),Pp120-121.
[2]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.)P122.
[3]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.)P123.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P124.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),Ppl24-126.
[2]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P126.
[3]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P126.
[4]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),p125-128.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefieid Publishers,Inc.),P133.
[2]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P133.
[3]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),Pp133-134.
[4]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.)Pp133-134.
[1]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P129.
[2]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P29.
[1]Richard shusterman,Pragmatist,Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P130.
[2]Richard shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefieid Publishers,Inc.)Pp131-132.
[1]冯友兰,《中国哲学史新编》下卷.北京,人民出版社,1999年版,第2页。
[2]The New Oxford Dictionary of English,Oxford University Press 1998,P2016.
[1]George Dickie,Introduction to Aesthetics:An Analytic Approach,(New Rork,Oxford University Press,Inc.1997),P4.
[1]George Dickie,Introduction to Aesthetics:An Analytic Approach,(New Rork,Oxford University Press,Inc.1997),P50.
[2]理查德.舒斯特曼:《实用主义美学》.彭锋译,商务印书馆2002年版,第58-59页.
[1]Morris Weitz,"The Role of Theory in Aesthetics," reprinted in Francis Coleman,ed.,Contemporary Studies in Aesthetics(New Rork:McGraw-Hill,1968),Pp.84-89.
[2]George Dickie,Introduction to Aesthetics:An Analytic Approach,(New York,Oxford University Press,Inc.1997),P83.
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P38..
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P39.
[2]Arthur Danto,The Transfiguration of the Commonplace,转引自 Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P41.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P42.
[2]Richard Shusterman,Pragmatist Aesthetics.Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P43.
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefieid Publishers,Inc.),P43.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P44.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P50.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),Pp51-52.
[2]Richard Shusterman,Pragmatist Aesthetics.Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P53.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P46.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P47.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P51.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rwoman & Littlefield Publishers,Inc.),P53-55.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P227.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture.(New York:Cornell University Press.2002),P228.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P229.
[1]John Dewey,Experience and Nature(Carbondale:Southern Illinois University Press,1981),P269.
[2]杜威《艺术即经验》,高建平译,商务印书馆2005年版.第166页。
[1]Ralph Waldo Emerson,转引自 Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),Pp230-231.
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P231.
[1]Pierre Bourdieu,"the Genesis of the Pure Aesthetics," in Ricard Shusterman(ed),Analytic Aesthetics(Oxford:Blackwell,1989),148-49.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P233.
[2]Friedrich Nietzsche,"Richard Wagner in Bayreuth," 转引自 Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P227.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P227.
[2]Chambers 21st Century Dictionary,(Cambridge:Chambers,1996),转引自 Richard Shusterman,Surface &Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P234.
[1]Richard Shusterman,Surface & & Depth:Dialectics of Criticsm and Culture.(New York:Cornell University Press,2002),P235.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P236.
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P237,
[3]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P237.
[1]舒斯特曼宁愿使用通俗(popular)而不是(mass)作为这类艺术的修饰语,他认为前者带有积极的内涵,而后者意味着一种无差别的和典型的非人性的聚集.见Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P314.
[1]参见David Novitz,"Aesthetics of Popular Art",in Jerrold Levinson ed.,in The Oxford Handbood of Aesthetics,P733.
[2]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P202.
[1]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P212.
[2]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P214.
[3]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P169.
[1]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P169-170.
[1]John Dewey:Art as Experience,(The Berkley Publishing Group,Published by the Penguin Croup Inc.),P9-15.
[2]John Dewey:Art as Experience,(The Berkley Publishing Group,Published by the Penguin Group Inc.),P194-195.
[1]Alexander Nehamas,Richard Shusterman on Pleasure and Aesthetic Experience,The Journal of Aesthetics and Art Criticism,Winter 1998,P51.
[1]Alexander Nehamas,Richard Shusterman on Pleasure and Aesthetic Experience,The Journal of Aesthetics and Art Criticism,Winter 1998,P51.
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cronell University Press,2002),P130.
[1]Herbert J.Gans,Popular Culture and High Culture:An Analysis and Evaluation of Taste,(New Rork:Basic,1974),pp.126-129.
[2]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P168.
[3]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),PP171-177.
[1]Richard Shusterman:Pragmatist,Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),PP177-200.
[1]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P172.
[2]詹姆斯:《实用主义》,商务印书馆1979年版,第37页.
[3]Richard Shusterman:Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefied Publishers,Inc.2000),P188.
[1]Woflgang Weitz,Undoing,Aesthetics,Translated by Andrew Inkpin,(London:Sage publication,1997),p.73.
[1]《实用主义美学》,[美]理查德.舒斯特曼著.彭锋译,北京:商务印书馆,2002年版,第3页。
[1]Richard Shusterman,Performing Live,(New York,Cronell Univeraity Press,2000),P250.
[1]Richard shusterman,Performing Live.(New York:Cornell University Press.2000).P250
[2]Richard shusterman,Performing Live.(New York:Cornell University Press.2000).P162.
[1]Richard shusterman,PerformingLive,(New York:Cornell University Press,2000),P163.
[2]Richard Rorty,Consequence of Pragmatism,(Minneapolis:University of Minnesota Press,1982),P72
[1]Richard Shusterman,Practicing Philosophy,(New York:Routledge Press,1997),P158.
[1]杜威《经验和自然》,傅统先译,商务印书馆,1960年版,第22页。
[2]英文的contextual通常被翻译为语境,但这个术语的含义不仅包含了文本中的上下文关系,而且也包括构成一个事件、命题或思想的环境或背景。对于这个英文的详细理解,可以查阅1998年出版的The New Oxford Dictionary of English,上海外语出版社,第396页。笔者是在较为宽泛的意义上使用这个术语的。
[1]Richard Shusterman,Practicing Philosophy,(New York:Routledge Press,1997),Pp163-164.
[2]Richard Shusterman,Practicing Philosophy,(New York:Routledge Press,1997),P165.
[1]Richard Shusterman,Practicing Philosophy,(New York:Routledge Press,1997),,Pp165-166.
[2]《实用主义美学》,舒斯特曼著,彭锋译,商务印书馆,2002年版,第87-88页。
[1]Richard Shusterman,Practicing Philosophy,(New York:Routledge Press,1997),P167.
[1]Richard Shusterman,Practicing Philosophy,(New York:Routledge Press,1997),P169.
[1]Ibid,Pp35-36.
[2]冯发兰,《中国哲学史新编》上,人民出版社,2007年3月第二版,第9页。
[1]《实用主义美学》舒斯特曼著,彭锋译,第354,北京:商务印书馆,2002年。
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P272.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P272.
[2]表象英文为representational,《实用主义美学》的中译本将其翻译为“外观”,二者的基本含义大致相同,但笔者认为表象更为符合美学中的习惯用语。
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P275.
[4]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P276.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P262.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P265.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P264.
[3]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P267.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000).P268.
[2]《实用主义美学》,舒斯特曼著,彭锋译,北京:商务印书馆,2002年版,第356页。
[3]Richard Shusterman,Pragmatist Aeathetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),Pp267-271.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P275.
[1]Richard Shusterman,Pragmatiat Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P279.
[2]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,INC,2000),P279.
[3]《实用主义美学》,舒斯特曼著,彭锋译,北京:商务印书馆,2002年版,第362页。
[1]Richard Shusterman,Performing Live,(Ithaca:Cornell University Press,2000),P159.
[1]Richard Shusterman,Performing Live,(Ithaca:Cornell University Press,2000),P161.
[2]Thomas Leddy,Shusterman 'a Pragmatist Aesthetics,The Jounral of Speculative Phyilosophy,Vol.16.1,2002,P15.
[1]舒斯特曼《生活即审美》,彭锋译,第165页,北京:北京大学出版社,2007。
[2]舒斯特曼《生活即审美》,彭锋译,第169页,北京:北京大学出版社,2007。
[1]维特根斯坦,转引自舒斯特曼《生活即审美》,彭锋译,第172页,北京:北京大学出版社,2007。
[2]舒斯特曼:《生活即审美》,彭锋译,第174页,北京:北京大学出版社,2007。
[1]维特根斯坦,转引自舒斯特曼《生活即审美》,彭锋译,第175页,北京:北京大学出版社,2007。
[2]罗素《西方哲学史》下卷,第386页,北京:商务印书馆,2004。
[1]舒斯特曼《生活即审美》,彭锋译,第177页,北京:北京大学出版社,2007。
[1]叔本华:《作为意志和表象的世界》,第250页,北京:商务印书馆,1982。
[2]Richard Shusterman,Somaesthetics and Burke's Sublime,British Journal of Aesthetics,Vol.45,October 2005,P325.
[1]Richard Shusterman,Somaesthetics and Burke's Sublime,British Journal of Aesthetics,Vol.45,October 2005,P327.
[2]Antonia Soulez,Practice,Theory,Pleasure,and the Problems of Form snd Resistance:Shusterman's Pragmatist Aesthetics,The Journal of Speculative Philosophy,Vol.16,NO.1,2002,P3.
[1]Richard Shustenman,Somaesthetics and Burke's Sublime,British Journal of Aesthetics,Vol.45,October 2005,P329.
[2]Richard Shusterman,Somaesthetics and Burke's Sublime,British Journal of Aesthetics,Vol.45,October 2005,P339.
[1]舒斯特曼的“Thinking Through the Body,Educating for the Humanities:A Plea for somaesthetics”(《通过身体思考,人文学科的教育:身体美学的呼吁》)一文发表在美国的“The Journal of Aesthetic Education”(《审美教育杂志》2006年第一期上。
[1]鲍桑葵《美学史》,张今译,商务出版社,第3页,1985。
[1]Richard Shustemsn,Pragmatism and the Limits of Philosophy,(Metaphilosophy LLc and Blackwell Publishing Ltd.2004),P15.
[2]理查德.舒斯特曼《实用主义美学》,彭锋译,商务印书馆,2002年版,第三页。
[1]Richard Shusteman,Pragmatism and the Limits of Philosophy,(Metaphilosophy LLc and Blackwell Publishing Ltd.2004),P22
[1]Richard Shusteman,Pragmatism and the Limits of Philosophy,(Metaphilosophy LLc and Blackwell Publishing Ltd.2004),P30.
[1]Richard Shusterman,Practicing Philosophy,(New York:Routledge Published,1997),P11.
[1]Adorno,T.W.Aesthetic Theory,(London:Rouledge,1984),P18-21.
[2]Richard Shusteman,Pragmatism and the Limits of Philosophy,(Metaphilosophy LLc and Blackwell Publishing Ltd.2004),P31.
[1]Richard Shusteman,Pragmatism and the Limits of Philosophy,(Metaphilosophy LLc and Blackwell Publishing Ltd.2004),P31.
[2]John Dewey,The later Works,Volume 7,(Southern Illinois University Press,1989),P307.
[1]Richard Shusteman,Pragmatism and the Limits of Philosophy,(Metaphiloanphy LLc and Blackwell Publishing Ltd.2004),P32.
[1]《中国哲学简史》,冯友兰著,赵复三译,天津社会科学出版社2007年版,第543页。
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),P192.
[1]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002).Pp192-193,
[2]Richard Shusterman,Surface & Depth:Dialectics of Criticism and Culture,(New York:Cornell University Press,2002),Pp194-196.
[1]冯友兰《中国哲学新编》,人民出版社,第561页,2003。
[1]参阅李泽厚\刘纲纪主编:《中国美学史》,第一卷,20-34页,北京,中国社会科学出版社,1984。
[2]冯友兰《中国哲学简史》,赵复三译,第563页,天津社会科学出版社,2007。
[1]曾繁仁《生态存在论美学论稿》,第228-229页,吉林人民出版社,2003。
[1]参看Richard Shuaterman,"Analytic Aesthetics,Literary Theory,and Deconstruction," Monist 69(1986),22-38,and "Deconstruction and Analysis:Confrontation and Convergence," British Journal of Aesthetics 26(1986),311-27.
[1]Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Msryland:Rowrnan & Littlefield Publishers,Inc.),P.66.
[2]Moore,转引自Richard Shusterman,Pragmatist Aeathetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P.67..
[3]参看,Richard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P.63.
[1]注·英文中的“identity”在不同的语境中可以被翻译为汉语的“身份”,“相似性”、“共同性”和“统一性”等词汇,在这里我们还是用英文来表示。在论文的其它部分根据语境分别翻译为“身份”和“统一性”,因为“统一性”与“身份”具有因果的关系。
[2]Rlchard Shusterman,Pragmatist Aesthetics,Second Edition,(Maryland:Rowman & Littlefield Publishers,Inc.),P.83..
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