摘要
分析哲学诞生于欧洲,却在美国这片原本以实用主义哲学为基础的土地上开花结果,以分析哲学的方法进行美学研究的流派,即分析美学,成为美国的主流学派；二战后,美学研究的地域中心实现了从欧洲大陆到美洲、从德国到美国的大转移,从此美国成为西方美学研究的地域中心；美国美学协会及其主办刊物《美学与艺术批评杂志》(为简便起见,下文以简称《杂志》代替《美学与艺术批评杂志》全名)的相继诞生,对美国美学发展产生了重要影响。分析美学在美国不仅发展成为相对独立的美学形态,而且产生了世界性影响。
追根溯源,美国分析美学的形成、发展、演变都离不开以下三个因素的相互作用。首先,从思想资源来说,美国分析美学除了受到分析哲学思想的影响,也受到美国本土的实用主义哲学的影响。其次,从方法论层面看,分析哲学的方法论属于分析美学至关重要的组成部分,构成了分析美学的主要支柱,为分析美学对传统美学的批判、自身的理论建构以及后来的发展确立了理论根据。第三,美国美学协会成为美国美学学科体制化的代表,该学会主办刊物《杂志》成为美国美学的权威刊物,《杂志》不仅见证了分析美学发展为美国主流美学的历程,同时引领着美国美学学科的发展。美国美学协会与《美学与艺术批评杂志》是美国美学体制化的核心要素,以这个核心要素为支撑,以分析哲学与实用主义的思想资源依托,以及美国分析美学基于客观艺术实践,以清除传统的形而上学为契机,以艺术实践的剧烈变革为中心,美国美学研究掀起了一场理论革命,反本质主义与本质主义、艺术可否定义的讨论成为美国当代分析美学的核心命题。
在艺术的急剧变革中,解决艺术哲学中的一系列重大课题成为美国分析美学的紧迫任务,作为美国美学体制化代表的《杂志》与美国美学协会,在美学研究的方法论以及学科发展所发挥的主导作用变得越来越重要。本文以丰富的第一手英文文献为依托,以《杂志》为窗口,以艺术定义为线索,探索美国分析美学的历史发展和未来走向。
自20世纪20年代的达达主义运动以来,先锋派艺术的打破了传统上艺术仅靠“好眼力”就能解决的艺术鉴赏与艺术批评问题。艺术世界的变化改造了艺术认知的方式,艺术世界的复杂性使传统美学理论变得无所适从。以先锋派艺术为代表的当代艺术提出了深刻的哲学问题。“艺术必须具有审美特质吗?”“艺术是什么?”“艺术如何辨别?”“艺术理论在辨别艺术中起到什么作用?”“对艺术作品的解读和艺术批评的意义何在?”追问并解答这些问题变得必要而紧迫。其中,“艺术是什么?”既是哲学必须解决的紧迫问题,也是艺术理论回应当代艺术实践时必须解答的根本问题。美国分析美学发起了针对传统本质论的一场革命,这标志着一种新思潮的崛起,也是一种逻辑与知识形态的演变。昔日的普遍主义淡出了人们的视野,反本质主义思潮从此登上了美学发展的历史舞台。但是,在反本质主义的消解与解构中,美学陷入了无方向感、无确定性的深渊之中。于是,艺术定义走出一轮困境后,又陷入新一轮的困境之中。
维兹(Morris Weitz)、肯尼克(William E. Kennick)、齐夫(Paul Ziff)等反本质主义者主要以维特根斯坦的“语言游戏”、“家族相似性”、“生活形式”以及“艺术开放性”等为由,反对任何本质、反对充分必要条件的定义,以取消主义的态度对待美学,以古德曼为代表的反本质主义多元论者主张世界构造的认知论,陷入了一种相对主义和毫无确定性的泥潭。艺术实践内部的重大变化和人们对艺术的各种需要,亟待艺术理论对纷繁复杂的艺术作品做出明确的解释,重新对艺术的界定做出尝试,为人们找到一个支点,走出理论困境。这意味着在新的历史阶段,美学与艺术哲学迫切地需要从新的层面回应“艺术的本质是什么?”“如何区分艺术与非艺术?”“艺术是否需要一个本质性定义”等一系列核心话题,艺术理论的本质主义走向又一次成为理论的焦点。
美国分析美学历经清除传统的形而上学的过程,亦即反本质主义过程之后,本质主义于20世纪后期开始复活。分析美学的批判不仅仅停留在对传统本质论的批判,而是随着艺术实践发展的需要而不断改变自身的研究对象。比尔兹利始终坚守着审美本质主义艺术理论,竭力排斥美学的心理学化、社会学化,乃至道德化、政治化、或宗教化,坚决捍卫着艺术或审美的自主性以及艺术的价值,捍卫艺术的审美价值,捍卫审美作为艺术批评的准则的基本定位。在有关艺术批评原则的争论中,他始终站在坚持审美原则的立场上。丹托对分析的艺术哲学的贡献,在于他敏锐地洞察到了当代艺术与传统艺术的本质差异,从艺术史的视角探索艺术的非显性特征,展开自己的艺术本质论,融历史主义与本质主义于一体。新一轮的艺术定义论有着不同于传统美学艺术定义的内容。除了丹托的历史主义艺术理论、迪基的艺术制度论,还有美学家从社会和文化实践的视角定义艺术,主要体现为新本质主义定义。新本质主义艺术定义主要是程序主义的路向,典型地体现为历史主义、制度主义的本质主义。
超越传统的主观思辨的普遍本质主义,尊重真理的历史、社会、文化等实践性,重新审视“存在与本质”的关系,乃是探索本质主义嬗变引发的艺术哲学思潮及其与当代审美知识形态的关系的主旨所在。后期分析哲学突出地表现为从新本质主义出发,引导艺术哲学从艺术制度、文化实践、历史叙事等多维度、多层面探索美学的主流思潮,突破了传统上以艺术的“显性”特质和自主自律性为宗旨构建宏大理论体系的本体论路向,成为关切特定历史阶段艺术的开创性艺术理论。但不可否认的是,新的艺术理论也难逃更多的批判和指责,存在着显著的局限性,艺术评价与艺术辨别的矛盾成为艺术理论难以协调的症结。比尔兹利过分强调艺术作品提供审美经验的功能,却忽视或排斥其他方面的功能和价值。一方面,它不能令人信服地解释当代艺术问题,使得理论超脱于现行的政治、经济、道德、文化；另一方面,传统的艺术定义也难以用来辨别当代艺术,与当代艺术实践产生了难以调和的矛盾。而对于以丹托、迪基为代表的新本质主义,其局限性主要是：它是否是一个本质主义定义本身就成为一个有争议的问题,美学家与艺术批评家对此众说纷纭；艺术界并没有充分体制化,艺术理论不具有赋予某物以艺术品地位的作用和权威；艺术制度论从描述意义上定义,忽视艺术定义的评价意义,过分突出了艺术界作为立法团体所发挥的作用。
半个多世纪以来,美国分析美学从对形而上学的连根拔起的革命到急流勇进的自我批判,不断修正和丰富自己的理论。事实上,它并没有像许多学者所宣判的那样走向了衰竭或死亡,终结的只是一种特定的理论形态,更重要的是它走向了另一种理论形态。每一次美学形态的转换,都建立在对已有理论形态的批判与反思的基础之上。分析美学一次次超越既有的美学,又一次次超越自己,其中的困惑、质疑与论争,无不显出与时俱进的进取精神与自我批判态度。一方面,分析美学已经取得了主导地位,对美学发展产生了深远的影响；另一方面,由于分析美学的思想已经成功浸润其他的思想流派,尽管它逐渐失去了以往的批判锋芒,但却体现出了更多的包容性和更强大的解释力。以哲学的分析方法对美与艺术进行研究、以生活形式可能性范围为研究取向的分析美学,将更好地服务于我们对艺术的理解,美学研究也将拥有更加广阔的思维空间与发展前景。
分析美学从艺术制度、文化实践、认知科学、历史叙事、日常生活等多方面探索艺术潮流,发展了与当代艺术变革相适应的艺术理论。艺术与生活形式成为分析美学取之不竭的活水源头。突破本质主义的窠臼,寻求艺术与生活的相互推动和互动发展,成为分析美学艺术定义的趋势。其中,艺术理论的实用主义化、艺术定义的场域化等成为多元化时代艺术定义的凝聚点。
Analytical philosophy was born in Europe, but it blosoms in the United States where the native pragmatist philosophy was originally dominating. Analytic aesthetics, which employs the methodology of analytic philosophy, became the mainstream school. Since Alexander Gottliel Baumgarten the subject Aesthetica, for nearly200years, Germany has been the regional center of aesthetic study. However, since the Second World War, the regional center has transfered from continental Europe to America, from Germany to the United States. From the start, American aesthetics has been almost solely represented by the American Society of Aesthetics (ASA refers to its shortform) and its "official organ" the journal of aesthetics and art criticism (JAAC refers to its shortform). In American aesthetics, analytic aesthetics has become not only a relatively independent branch, but also one that has great impact globally on the aesthetic field.
Actually, the formation, development and evolution of American analytic aesthetics can be attributed to the inseparable interaction of the following three factors. First of all, from the perspective of the thought resources, it has intergrated both analytical philosophyand the local pragmatism philosophy. Second, in methodological perspectives, the methodology of the analytical philosophy constitutes the backbone of aesthetic analysis, which becomes a critical part of its getting rid of the metaphysics of traditional aesthetics, its theoretical construction and its future development. Third, as the Society and the Journal became the authority of the subject's institutionalization, American aesthetics has become increasingly the exclusive property of philosophers, largely taken over in the mainstream by philosophers working within what is commonly called the Anglo-American tradition. JAAC not only witnesses the progress of analytic aesthetic to be the mainstream American aesthetics but also leads the development of aesthetics, both in themes and concerns. Based on analytical and pragmatical philosophy thought resources, analytic methodology and the representing journal, analytic aesthetics lauched a campaign for cleaning traditional metaphysics, gave rise to a revolution of the aesthetic theory in terms of anti-essentialism, neo-essentialism and pluralism, in which, the discussion of the definition of art has been the central concern to the central problem "what is art?", providing a comprehensive, very wide, important domain of aesthetic and philosophial problem.
In the radical change of art practics, the urgent task aesthetics of the mainstream American aesthetics-analysis is to solve a series of problems in the philosophy of art. As the representative of the aesthetic institutionalizing, JAAC and ASA played a more and more important leading role in methodology, theme and concerns for the development of the discipline. Since JAAC and ASA represents the institutionalization of American aesthetics, and analytic aesthetics is its mainstream, this dissertation starts with the magazine as a window to explore the main course of the development and future trends of analytic aesthetics, mainly taking the definitions of art associated with the core question "what is art?" as clues.
Since the Dadaist movement in the1920s, the rages of avant-garde art broke the rules that traditionally art appreciation and art criticism can be solve with a "good eye". The great change of the art world has turned the tide, and unprecedentedly changed cognitive way of the art, which needs a new perspective of epistemology and methodology in the philosophical level. The complexity of the art world makes the traditional aesthetic theory disoriented. As a representative of the contemporary art, the avant-garde art gave rise to the profound philosophical problems."Is art necessary to possess aesthetic qualities?""What is art?""How to identify art works from other object?""What role does art theory play for identifying art?""What's the point for and interpretation of art and art criticism?" Pursuing and answering these questions become necessary and urgent. Among them,"what is art?" is the essential pressing problems. Based on an objective analysis of art practice, analytic aesthetics launched a revolution, taking removing the traditional metaphysics as an opportunity, which marks a new ideological trend, along with kind of the evolution of logic and of knowledge form, the former universalism fading out of people's perspective, anti-essentialist trends steped onto the stage of the history of aesthetics. However, with anti-essentialist dispelling and deconstruction, aesthetics is trapped in a sense of disorientation and uncertainty. That is, the definition of art involved in another round of a dilemma after out of one predicament.
Anti-essentialists like William Kennick, Weitz and Ziff mainly accepted "language games","family resemblance","form of life" and "open concept of art" rooted in Wittgenstein's philosophical thoughts to oppose any theory of the essentialism, against the necessary and sufficient conditions for the definition, which is undoubtedly a canceling attitude to aesthetics. Nelson Goodman, as a representative of the anti-essentialism pluralists, claims epistemology of worldmaking, falling into a trap of relativism and no certainty. The great internal changes in art practice and people's need concerning art press for art theory to explain the complexity of the art works, to try to define art in a new way, for anchoring their belief, values, the knowledge conversion. This may mean that in the new historical stage, aesthetics and the philosophy of art urgently need a new perspective in response to the above questions. Therefore, a new essentialism approach to the nature of art theory is on its way.
It is the main concern to go beyond the traditional metaphysical essentialism, follow the real historical, social and cultural characteristics of arts in practice. The later analytic aesthetics primarily took its trace in a neo-essentialist approach to guide the definitions of art, which stick to the non-exhibited properties beyong the traditional "exhibited" ones. However, the essentialist approach still cannot avoid critisim. With rejection of traps in psychology, sociology, politics or religion, Beardsley determined to defend the autonomy of art or aesthetic and artistic value, defend the aesthetic value of art, defend art aesthetic principles as criteria of the basic position. He devoted into the aesthetic definition of art. Danto did his contribution in his keen insight into the combination of historicism and essentialism in the contemporary art. In addition to Danto's historical art theory, dickie posed institutional art theory, to define arts from the social and cultural practice. This new round of art definitions has a different perspective from the traditional one. It is mainly embodied in the neo-essentialist definition, which featured procedural definitions. It's obvious that Beardsly paid too much emphasis on the aesthetic experience of art works, the functional aspect of arts, but neglects or rejects the functions and values of arts in the other aspects. What's more, it can't be a convincing explanation of the contemporary art for excluding the avante-arts. For Danto, dickie, representative of the neo-essentialism, its limitations are clear in the following major aspect:firstly, it's quite controversial whether it's an essentialist definition; The art world is not adequately institutionalized, which has awarded authority to declare items the function and position to art; the institutional theory is confined to the descriptive significance of art while neglecting art definition as the function of evaluation over emphasize legislative roles of the art.
For more than half a century, the American domestic and foreign scholars, undergo enormous explorations, from uprooting the metaphysics to radical self-criticalness, to correct and enrich their theory. In fact, analytic aesthetic is not doomed to failure or death like what many scholars claimed. What ends is just some specific forms, and more importantly, it transformed into another form. Each time the aesthetic form of conversion is based on criticism reflection of existing aesthetic shape. Analytic aesthetic transcends the formed aesthetics, and also surmounts itself, in which confusion, debate and questioning, all show that contemporary American analytic aesthetics advances with the times, with self critical spirit and enterprising spirit without exception. On one hand, the analytic aesthetic has achieved the leading position, with great impact on the development of aesthetics; On the other hand, since the analytic aesthetics have successfully infiltrated other genres, despite gradually losing its inherent criticalness, it reflects its more inclusive and more powerful explanatory capacity. With the analytic approach to beauty and arts and the life form as the research orientation in the wide range of its possibility, analytic aesthetics will better serve our understanding of art and aesthetics, which will also have more extensive space and prospects.
The main trend of the analytic aesthetics is to explore the artistic aesthetics system multidimensionally from cultural practice, cognitive science, historical narration, daily life and so on for the sake of the persistent concerns in particular stages of art theory. Art and life form become inexhaustible source of living water of analysis aesthetics. Breaking through the essentialist set patterns, seeking art and life's push in the form of interactive development, become the main trend of definitions of arts in analytic aesthetics. Among them, the art theory of pragmatism, from defining art to defining individual arts, the artistic field gain the rallying point in this multicultural era of art.
引文
① Richar Shusterman, "Aesthetics Between Nationalism and Internationalism", in the Journal of Aesthetics and Art Criticism,58 Spr.1993.p157.
① Thomas Munro, "The Future of Aesthetics". A Symposium on Possible Ways of Advancing Theoretical Studies of the Arts and Related Types of Experience, ed., Thomas Munro (Cleveland, Ohio,1942), p.7. See also Rolf-Dieter Herrmann, "How a European Views the Journal of Aesthetics and Art Criticism", in the Journal of Aesthetics and Art Criticism, Vol.29, No.4,1971, p.499.
② Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.101.
③ Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.103.
① Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.103.
②华勒斯坦.《学科·知识·权力》.刘健芝译.北京：生活·读书·新知三联书店,1999年,第19页。
② Lydia Goehr, "Editorial", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993.
① Thomas Munro, Proceedings. First Annual Meeting. The American Society for Aesthetics (Cleveland Museum of Art, Sept 11-13,1944), p.15. See also Lydia Goehr, Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992, in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.101.
② International News and Correspondence, in the Journal of Aesthetics and Art Criticism, Vol.7, No.2,1948, p.174.
③ Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.117.
① Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.116.
② Richar Shusterman, "Aesthetics Between Nationalism and Internationalism", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.157.
① T.J. Diffey, "On American and British Aesthetics", In the Journal of Aesthetics and Art Criticism, Vol.51, No.2, 1993:pp.169-176.
① Peter Lamarque, "The British Journal of Aesthetics:Forty Years on", in the British Journal of Aesthetics, Vol. 40, No.1, January 2000, p.3.
① Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.111.
② Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, pp.99-122.
①代迅.《去西方化与再中国化：全球化时代中国美学研究的问题与方法》.《社会科学战线》.2008年,第2期,第150页.
①涂纪亮.《美国哲学史》(第一卷).北京：社会科学文献出版社,2007年,导论：第7、10页.
②舒斯特曼.《实用主义美学》.彭锋译.北京：商务印书馆,2002年,第18页.
③舒斯特曼.《实用主义美学》.彭锋译.北京：商务印书馆,2002年,第17页.
① Rolf-Dieter Herrmann, "How a European Views the Journal of Aesthetics and Art Criticism", in The Journal of Aesthetics and Art Criticism, Vol.29, No.4,1971, pp.504-505.
① Richard Shusterman, "Analytic Aesthetics:Prospect and Retrospect", in the Journal of Aesthetics and Art Criticism,Vol.45, Special Issues (1987), p.116.
①G.E.摩尔.《伦理学原理》.长河译.北京：商务印书馆,1983年,第206-207页.摩尔采用了对概念进行逻辑分析的方法,同时坚持直觉主义,指出美并非自然客体,不能用自然主义的方法加以界定,否则就会陷入自然主义的谬误。摩尔的认识论、方法论在英语世界中影响甚巨,以至于《美国大百科全书》(1964年版)这样评价道：摩尔在哲学研究中对概念进行逻辑分析的特殊方法为许多哲学家(主要是在英语世界)树立了一种方法论的榜样。
②维特根斯坦.《逻辑哲学论》.郭英译.北京：商务印书馆,1985年,第38页,第44页.
③ Richard Shusterman, "Analytic Aesthetics:Prospect and Retrospect", in The Journal of Aesthetics and Art Criticism, Vol.45, Special Issues (1987), p.117.
④ H.G.Schrickel, "Editorial", in the Journal of Aesthetics and Art Criticism, Vol.3, No.11/12,1945, pp.3-4, See also Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51,No.2,1993, p.99.
① Kendall Walton, "Categories of Art," in G.Dickie, R.Sclafani, and R.Robin eds., Aesthetics:A Critical Anthology, 2nd, New York:St.Martin's Press,1989, pp.394-414.
① Peter Lamarque, "The British Journal of Aesthetics:Forty Years on", in The British Journal of Aesthetics, Vol.40, No.1,2000,p.9.
① Yuriko Saito, Everyday aesthetics, Oxford:Oxford University Press,2008, p.4-5.
② J.A.Passmore, "The Dreariness of Aesthetics",pp.50-55,also see Richard Shusterman, "Analytic Aesthetics: Prospect and Retrospect", in the Journal of Aesthetics and Art Criticism,vol.45, Special Issues (1987), p.118.
① Donald W.Crawford, "Reflections on Editing the JAAC", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993.
② Mary Devereaux, "Protected Space:Politics, Cencorship, and the Arts", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.213.
①朱立元,张德兴等.《西方美学通史》第七卷(下).蒋孔阳,朱立元主编.上海：上海译文出版社,1999年,第953页.
② T.J. Diffey, "On American and British Aesthetics", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2, 1993, p.170.
③理查德·舒斯特曼.《实用主义美学》.彭锋译.北京：商务印书馆,2002年,第16页.
① Richard Shusterman, "Analytic aesthetics:Retrospect and Prospect", in the Journal of Aesthetics and Art Criticism, Vol.45, Special Issue,1987, p.116.
②朱立元,张德兴等.《西方美学通史》第七卷(下).蒋孔阳,朱立元主编.上海：上海译文出版社,1999年,第953页.
①摩尔.《伦理学原理》,长河译.北京：商务印书馆,1983年,第206-207页.
②江怡.《西方哲学史》第八卷(下).叶秀山、王树人主编.南京：江苏人民出版社,2005年,第734页.
③冯·赖特.《分析哲学：一个批判的历史概述》(上).陈波译.《社会科学论坛》.1999年,第9-10期,第44页.
④P.M.S.哈克.《分析哲学：历史、内容与走向》.江怡译.见陈波编《分析哲学：回顾与反省》,成都：四川教育出版社,2001年,第45页。石里克在他的哲学宣言《哲学的转变》中把《逻辑哲学论》时期的维特根斯坦看做是实现“语言的转变”这个决定性转变的“第一人”。又见江怡.《西方哲学史》第八卷(下).叶秀山、王树人主编,南京：江苏人民出版社,2005年,第736页.
①维特根斯坦.《逻辑哲学论》.郭英译.北京：商务印书馆,1985年,第44页.
②尼古拉斯·雷谢尔.《分析哲学的兴起与衰落》.张力锋译.见陈波编《分析哲学：回顾与反省》.成都：四川教育出版社,2001年,第118-119页.
①Ludwig Wittgenstein, Philosophical Investigations, trans. by G. E. M. Anscombe, Oxford:Basil Blackwell,1958, pp.31-32.
①涂纪亮.《美国哲学史》(第一卷).北京：社会科学文献出版社,2007年,导论,第10页.
②托马斯·门罗.《走向科学的美学》.石天曙,滕守尧译.北京：中国文联出版公司,1985年,第149页.
① Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.101.
②朱立元、张德兴.《西方美学通史》第六卷第十章,第339-388页,第七卷第二十四章,第162-187页.
①刘悦笛.《分析美学史》.北京：北京大学出版社,2009年,第21-23页.
② Richard Shusterman, "Introduction:Analytic aesthetics:Retrospect and Prospect", in the Journal of Aesthetics and Art Criticism, Vol.45, Special Issue,1987, p.116.
③ Avrum Stroll, Twentieth-Century Analytic Philosophy, New York:Columbia University Press,2000, p.183.
①江怡.《西方哲学史》第八卷(下).叶秀山、王树人主编.南京：江苏人民出版社,2005年,第758页.
②涂纪亮.《美国哲学史》(第一卷).北京：社会科学文献出版社,2007年,导论,第10-11页.
①涂纪亮,《美国哲学史》(第一卷),北京：社会科学文献出版社,2007年,导论,第11页.
②Noel Carroll, Beyond Aesthetics:Philosophical Essays, Cambridge:Cambridge University Press,2003. p.20.
③Noel Carroll, Philosophy of Art:a Contemporary Introduction, New York:Routledge,1999, p.6.
①朱立元,张德兴等.《西方美学通史》第六卷(上).蒋孔阳,朱立元主编.上海：上海译文出版社,1999年,第340页.
②洪汉鼎.《语言学的转向——当代分析哲学的发展》香港：三联书店,1992年,第4页.
① Dagfinn Fφllesdal, "Analytic Philosophy:What Is It and Why Should One Engage in It", in Hans-Johann Glock ed. The Rise of Analytic Philosophy, pp.14-16也可参见江怡.当代分析哲学的最新发展.《厦门大学学报》,2004年,第2期,第6页.
②阿瑟·丹托、刘悦笛.从分析哲学、历史叙事到分析美学——关于哲学、美学前沿问题的对话.《学术月刊》2008年,第11期,第5-11页。又见刘悦笛.《分析美学史》.北京：北京大学出版社,2009年,第413页.
① Marx Wartofsky, "The Liveliness of Aesthetics", in the Journal of Aesthetics and Art Criticism, vol.45, Special Issues,1987, p.216.
② Marx Wartofsky, "The Liveliness of Aesthetics", in the Journal of Aesthetics and Art Criticism, vol.45, Special Issues,1987, p.216.
③瓦·阿·古辛娜：《分析美学评析》,李昭时译,北京：东方出版社,1990年,绪言,第2页.
④朱立元,张德兴等.《西方美学通史》第六卷(上).蒋孔阳,朱立元主编.上海：上海译文出版社,1999年,第340页.
①摩尔.《伦理学原理》.长河译.北京：商务印书馆,1983年,第238页.
②王路.《走进分析哲学》.生活·读书·新知三联书店,1999,第29页。也可参见江怡.《西方哲学史》第八卷(下).叶秀山、王树人主编.南京：江苏人民出版社,2005年,第730页.
③江怡.《西方哲学史》第八卷(下).叶秀山、王树人主编.南京：江苏人民出版社,2005年,第730页.
④江怡.《西方哲学史》第八卷(下).叶秀山、王树人主编.南京：江苏人民出版社,2005年,第734页.
①尼古拉斯·雷谢尔.《分析哲学的兴起与衰落》.张力锋译.见陈波编《分析哲学：回顾与反省》.成都：四川教育出版社,2001年,第118-119页.
②瓦·阿·古辛娜.《分析美学评析》.李昭时译.北京：东方出版社,1990年,第21页.
③William Elton ed., Aesthetics and Language, New York:Basil Blackwell,1954, pp.3-4.
④江怡.《分析哲学中的“分析”概念》.《云南大学学报》第5卷,第2期.
① Stephen Davis ed., A Companion to Aesthetics:the Blackwell Companion to Philosophy (2nd ed.), Blackwell: Blackwell Publishing Ltd., p.72.)
①尼古拉斯·雷谢尔.《分析哲学的兴起与衰落》.张力锋译.也见陈波编《分析哲学：回顾与反省》,成都：四川教育出版社,2001年,第123页.
② Marx Wartofsky, The Liveliness of Aesthetics [J], inThe Journal of Aesthetics and Art Criticism, Vol.45, Special Issues,1987,p.218.
③ Ludwig Wittgenstein, Tractatus Logico-Philosophicus, trans. by C. K. Ogden, Oxford:Barnes & Noble Publishing, Inc.,2003, p.157.
① Wittgenstein, Philosophical Investigations [M]. Translated by Anscombe. New York:The Macmillan Company, 1964, p.8, p.88.
②A.A.别利亚耶夫.《美学辞典》.高叔眉等译.北京：东方出版社,1993年,第91页.
①刘悦笛.《维特根斯坦的分析美学概观》.《厦门大学学报》.2007年,第6期,第50页.
②塞尔.《当代美国分析哲学》.涂纪亮译.陈波编.《分析哲学：回顾与反省》.成都：四川教育出版社,2001年,第82页.
③理查德·舒斯特曼.《实用主义美学》.彭锋译.北京：商务印书馆,2002年,第17页.
①理查德·舒斯特曼.《实用主义美学》.彭锋译.北京：商务印书馆,2002年,第18页.
②A.J.艾耶尔.《二十世纪哲学》.李步楼等译.上海：上海译文出版社,1987年,第157-160页,见“维也纳学派的命运”一节。
① Noel Carroll, Beyond Aesthetics:Philosophical Essays, Cambridge:Cambridge University Press,2003. pp.101-102.
②朱立元,张德兴等.《西方美学通史》第六卷(上).蒋孔阳,朱立元主编.上海：上海译文出版社,1999年,第24页。
① Monroe Beardsly, Aesthetics:Problems in the Philosophy of Criticism,2nd ed. Indianapolis:Hackett Publishing Company, Inc.,1981, p.xvii.
②华勒斯坦.《学科·知识·权力》.刘健芝译.北京：生活·读书·新知三联书店,1999年,第13-20页.
①华勒斯坦.《学科·知识·权力》.刘健芝译.北京：生活·读书·新知三联书店,1999年,第20-21页.
② Lydia Goehr, Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992, the Journal of Aesthetics and Art Criticism, Vol.51, No.2, 1993, pp.102-103.
① Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.100.
① Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.106.
② Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.103.
③ Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.103.
①华勒斯坦.《学科·知识·权力》.刘健芝译.北京：生活·读书·新知三联书店,1999,第19页。
②Lydia Goehr, "Editorial", in the Journal of Aesthetics and Art Criticism,Vol.51, No.2,1993.
① Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.100.
② Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.100.
③ Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.102.
① Lydia Goehr,"Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.102.
①托马斯·门罗.《走向科学的美学》.石天曙,滕守尧译.北京：中国文艺联合出版社,1985年,第237-8页.
②托马斯·门罗.《走向科学的美学》.石天曙,滕守尧译.北京：中国文艺联合出版社,1985年,第233页.
③ Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51,No.2,1993,p.101.笔者注：这里的“新世界”美学是指在二次世界大战后,无论是美国学者,还是受到二战阴影影响的欧洲学者,他们在建设美国美学的时候都致力于建设一种新的美学、不同于以往德国占据主导作用的欧洲美学。
① Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal ofAesthetics and Art Criticism,Vol.51, No.2,1993, p.105.
② Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.108.
③ Marx Wartofsky. "The Liveliness of Aesthetics", in The Journal of Aesthetics and Art Criticism,Vol.45, Special Issues,1987, p.211.
①阿瑟·C.丹托.《美的滥用——美学与艺术的概念》.王春辰译.南京：江苏人民出版社,2007年,第2页.
② T.J. Diffey, "On American and British Aesthetics", in the Journal of Aesthetics and Art Criticism, Vol.51,No.2, 1993, p.169.
③ Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2,1993, p.99.
①阿瑟·C.丹托.《美的滥用——美学与艺术的概念》.王春辰译.南京：江苏人民出版社,2007年,中文版序第8页.
② William Elton ed., Aesthetics and languages, Oxford:Basil Blackwell,1954, p.1.
③ Peter Lamarque, "The British Journal of Aesthetics:Forty Years on", in The British Journal of Aesthetics, Vol. 40, No.1, January 2000, p.2.
④ Lewis K. Zerby, "A Reconsideration of the Role of Theory in Aesthetics:A Reply to Morris Weitz", in the Journal of Aesthetics and Art Criticism. Vol.16, No.2,1957, p.253.
① Richard Shusterman, "Analytic Aesthetics:Prospect and Retrospect", in the Journal of Aesthetics and Art Criticism,Vol.45, Special Issues (1987), p.118.
①转引自周宪.《20世纪西方美学》.南京：南京大学出版社,1997年,第331页.
① Michael Kelly, "Essentialism and Historicism in Danto's Philosophy of Art", in History and Theory, Vol.37, No. 4,1998, p.32.
① David Macarthur, Aesthetics (Analytic), http://sydney.edu.au/arts/philosophy/documents/macarthur/Aesthetics%20(analytic)%20-%20final.pdf
② Noel Carroll, Beyond Aesthetics:Philosophical Essays, Cambridge:Cambridge University Press,2003. p.37.
③阿瑟·丹托.《美的滥用》.王春辰译.南京：江苏人民出版社,2007年,导言：第1页.
①特·查拉.《1918达达宣言》.收入袁可嘉等编选《现代主义文学研究》(上).北京：中国社会科学出版社,1989年,第464页.
①埃伦·H·约翰逊.《当代美国艺术家论艺术》.姚宏翔、溉飞译.上海：上海人民美术出版社,1992年,第106-107页.
① Gianni Vattimo, the End of Modernity:Nihilism and Hermeneutics in Post-modern Culture, Cambridge:Polity Press,1988, p.53.
①托马斯·门罗.《走向科学的美学》.石天曙,滕守尧译.北京：中国文艺联合出版社,]985年,第133-134页.
① Richar Shusterman, "Aesthetics Between Nationalism and Internationalism", in the Journal of Aesthetics and Art Criticism, Vol.58, No.2,1993, p.157.
②范明生.《西方美学通史》第二卷.蒋孔阳,朱立元主编.上海：上海译文出版社,1999年,第274页.
①William E. Kennick, "Does Traditional Aesthetics Rest on a Mistake? ", in Mind 67 (267)1958, pp.317-334.
①托马斯·门罗.《走向科学的美学》.石天曙,滕守尧译.北京：中国文艺联合出版社,1985年,第225-226页.本段选自《美学与艺术批评杂志》的第1卷第1期的开篇之作《美学领域的知识与控制》,成为《走向科学的美学》的第三章,收入时文字部分有所修改。
②托马斯·门罗.《走向科学的美学》.石天曙,滕守尧译.北京：中国文艺联合出版社,1985年,第230页.
①Arnold Isenberg, "Analytical Philosophy and The Study of Art", in The Journal of Aesthetics and Art Criticism, Special Issue,1987, pp.226-228.
① Richard Shusterman, "Introduction:Analytic Aesthetics:Retrospect and Prospect", in the Journal of Aesthetics and Art Criticism, Special Issue,1987, p.117.
② Richard Shusterman, "Introduction:Analytic Aesthetics:Retrospect and Prospect", in the Journal of Aesthetics and Art Criticism, Special Issue,1987, p.118.
③沃尔夫冈·韦尔施.《重构美学》.陆扬、张岩冰译.上海：上海译文出版社,2006年,第13页。
④ Marx W. Wartofsky, "The Liveliness of Aesthetics", in the Journal of Aesthetics and Art Criticism, Special Issue, 1987, p.212.
① Peter Lamarque & Stein Haugom Olsen, eds., Aesthetics and the Philosophy of Art:The Analytic Tradition:An Anthology, Oxford:Blackwell Publishing Ltd.2004, p.2.
② Peter Lamarque, "The British Journal of Aesthetics:Forty Years on",in The British Journal of Aesthetics, Vol. 40, No.1, January 2000, p.3.
③ Peter Lamarque, "The British Journal of Aesthetics:Forty Years on", in The British Journal of Aesthetics, Vol. 40, No.1, January 2000, p.5.
④ Morris Weitz, "The Role of Theory in Aesthetics", in the Journal of Aesthetics and Art Criticism,15 Sept.,1956, pp.27-35.
① Morris Weitz, "The Role of Theory in Aesthetics", in the Journal of Aesthetics and Art Criticism, Vol.15 Sept. 1956, p.27.
① Morris Weitz, "The Role of Theory in Aesthetics", in The Journal of Aesthetics and Art Criticism, Vol.15 Sept. 1956, p.27.
①瓦·阿·古辛娜.《分析美学评析》.李昭时译.北京：东方出版社,1990年,第63-64页.
② Morris Weitz, "The Role of Theory in Aesthetics", in the Journal of Aesthetics and Art Criticism, Vol.15 Sept. 1956, p.30.
①维特根斯坦.《哲学研究》.李步楼译.北京：商务印书馆,1996年,第46页.
①维特根斯坦.《哲学研究》.李步楼译.北京：商务印书馆,1996年,第46页.
② Morris Weitz, "The Role of Theory in Aesthetics", in the Journal of Aesthetics and Art Criticism, Vol.15 Sept. 1956, p.32.
① Morris Weitz, "The Role of Theory in Aesthetics", in the Journal of Aesthetics and Art Criticism, Vol.15 Sept. 1956, p.32.
② Stephen Davis, Definitions of Art, New York:Cornell University Press,1991, p.7见戴维斯维兹的反本质主义一章、维兹的地位一节。嘉利(W.B.Gallie)(1948,1956b)主张艺术没有任何的本质；帕斯摩(John Passmore)表明艺术没有本质,美学的沉闷源于徒劳无功的定义诉求；齐夫(Paul Ziff)(1953)也是一名反本质主义者,认为艺术作品是以“家族相似性”相辨别；肯尼克(William Kennik) (1958)主张拒斥艺术的定义……维兹的反本质主义如今是普遍的。舒斯特曼、布尔迪厄、伊尔金、古德曼等认为对定义的攻击是分析哲学应用于美学所取得的几件少有的成功之举之一。
③瓦·阿·辛娜.《分析美学评析》.李昭时译.北京：东方出版社,1990年,第75-76页.
①Angela Curran, "Review of Contemporary Philosophy of Art:Readings in Analytic Aesthetics", http://aesthetics-online.org/reviews/index.php?reviews_id=14
②Noel Carroll, Philosophy of Art:A Contemporary Introduction, New York:Routledge,1999, p.209.
③转引自周宪.《20世纪西方美学》.南京：南京大学出版社,1997年,第331页.
① Morris Weitz, "The Role of Theory in Aesthetics", in the Journal of Aesthetics and Art Criticism, Vol.15 Sept. 1956. p.33.
①Noel Carroll, Beyond Aesthetics:Philosophical Essays, Cambridge:Cambridge University Press,2003. p.79.
②William E. Kennick, "Does Traditional Aesthetics Rest on A Mistake? " in Mind 58, pp.321-322.
① Noel Carroll, Philosophy of Art:A Contemporary Introduction, New York:Routledge,1999, p.217.
② Noel Carroll, Philosophy of Art:A Contemporary Introduction, New York:Routledge,1999, p.217.
③ Joseph Margolis,"The Eclipse and Recovery of Analytic Aesthetics", iln Richard Shusterman (ed.), Analytic Aesthetics, New York:Basil Blackwell Ltd.,1989, pp.161-189.
① Curtis L.Carter, "A Tribute to Nelson Goodman", in the Journal of Aesthetics and Art Criticism, Vol.58, No.3,2000, p. 251.
①尼尔森·古德曼.《艺术语言》.褚朔维译.北京：光明日报出版社,1990年,第19页.
②尼尼尔森·古德曼.《艺术语言》.褚朔维译.北京：光明日报出版社,1990年,第27页.
③尼尔森·古德曼.《艺术语言》.褚朔维译.北京：光明日报出版社,1990年,第19页.。
①尼尔森·古德曼.《构造世界的多种方式》.姬志闯译.上海：上海译文出版社,2008年,序言,第2页.
②尼尔森·古德曼.《构造世界的多种方式》.姬志闯译.上海：上海译文出版社,2008年,序言,第2页.
①尼尼尔森·古德曼.《艺术语言》.褚朔维译.北京：光明日报出版社,1990年,第223-224页.
②尼尔森·古德曼《构造世界的多种方式》,姬志闯译,上海：上海译文出版社,2008年,序言,第71-72页.
③ Curtis Carter, "A Tribute to Nelson Goodman", in the Journal of Aesthetics and Art Criticism,15 Sept.2000, p. 253.
① Catherine Elgin ed., Philosophy of Nelson Goodman:Nelson Goodman's Philosophy of Art, p.1见刘悦笛,《分析美学史》,北京：北京大学出版社,2009年,第193页。
② Dominic M. Mclver Lopes, "From Languages of Art to Art in Mind", in the Journal of Aesthetics and Art Criticism, Vol.58, No.3,2000, p.227.
③ Saul Fisher, "Architectural Notation and Computer Aided Design", in the Journal of Aesthetics and Art Criticism, Vol.58, No.3,2000, p.273.
① Jenefer Robinson, "Languages of Art at the Turn of the Century", in the Journal of Aesthetics and Art Criticism, Vol.58, No.3,2000, p.213.
②姬志闯.《美学的“认识论转向”：“构造世界”视域内的艺术诊断——纳尔逊·古德曼的美学思想及其当代意蕴》.载《哲学动态》.2010年,第3期,第85页.
③ Catherine Z.Elgin, "Reorienting Aesthetics, Reconceiving Cognition", in the Journal of Aesthetics and Art Criticism, Vol.58, No.3,2000, p.224.
① Catherine Z.Elgin, "Reorienting Aesthetics, Reconceiving Cognition", in the Journal of Aesthetics and Art Criticism, Vol.58, No.3,2000, p.219.
② Noel Carroll, Philosophy of Art:A Contemporary Introduction, New York:Routledge,1999, p.217.
③尼尔森·古德曼.《构造世界的多种方式》.姬志闯译.上海：上海译文出版社,2008年,第60页.
①尼尔森·古德曼.《构造世界的多种方式》.姬志闯译.上海：上海译文出版社,2008年,第70页.
①尼尔森·古德曼.《构造世界的多种方式》.姬志闯译.上海：上海译文出版社,2008年,序言第2页.
② Karlheinz Ludeking, "The Limits of Conceptual Analysis in Aesthetics", in the Nordic Journal of Aesthetics, 39(2010), p.101.
③ Megan Winget, "Nelson Goodman's Languages of Art, Notation, and Artistic Representation:An Analysis of Music Notation", http://www.unc.edu/～winget/research/Winget_Notation.pdf
①尼尔森·古德曼.《艺术语言》.褚朔维译.北京：光明日报出版社,1990年,第223-224页.
②尼尔森·古德曼.《构造世界的多种方式》.姬志闯译.上海：上海译文出版社,2008年,第73页.
③尼尔森·古德曼.《艺术语言》.褚朔维译.北京：光明日报出版社,1990年,第225页.
①尼尔森·古德曼.《构造世界的多种方式》.姬志闯译.上海：上海译文出版社,2008年,第69页.
②尼尔森·古德曼.《艺术语言》.褚朔维译.北京：光明日报出版社,1990年,第114页.
①Nelson Goodman, Fact, Fiction and Forecast, Harvard University Press,1983, p.83.
①维特根斯坦.《哲学研究》.李步楼译.北京：商务印书馆,1996年,第121页.
② G.Abel. "Logic, Art, and Understanding in the Philosophy of Nelson Goodman", Vol.34 (1991) in Inquiry, p.311.
③ Joseph Margolis, "Plain Talk about Interpretation on a Relativistic Model ", in the Journal of Aesthetics and Art Criticism,Vol.53, No.1,1995, p.2.
① Stephen Davies, "Relativism in Interpretation", in the Journal of Aesthetics and Art Criticism, Vol.53, No.l,1995, p.12.
① Lewis K. Zerby, "A Reconsideration of the Role of Theory in Aesthetics-a Reply to Morris Weitz", in the Journal of Aesthetics and Art Criticism,Vol.16, No.1,1957, p.253.
① Lewis K. Zerby, "A Reconsideration of the Role of Theory in Aesthetics-a Reply to Morris Weitz", in the Journal of Aesthetics and Art Criticism, Vol.16, No.l,1957, p.253.
② Joseph Margolis, "Mr. Weitz and the Definition of Art", in Philosophical Studies:An International Journal for Philosophy in the Analytic Tradition, Vol.9,No.5/6 (1958), p.89.
① Anita Silvers, "Letting the Sunshine In:Has Analysis Made Aesthetics Clear? ", in the Journal of Aesthetics and Art Criticism,vol.45, Special Issues (1995),p.137.
② Anita Silvers, "Letting the Sunshine In:Has Analysis Made Aesthetics Clear? ", in the Journal of Aesthetics and Art Criticism,vol.45, Special Issues (1987),p.137.
③ Noel Carroll, "Anglo-American Aesthetics and Contemporary Criticism:Intention and the Hermeneutics of Suspicion", in The Journal ofAesthetics and Art Criticism,Vol.51,No.2 (1993),p.245.
①肯尼克.《传统美学是否建立在错误的基础之上?》.蒋孔阳编选《二十世纪西方美学名著选》,上海：上海译文出版社,1988年,第112页.
② Joseph Margolis, "Mr.Weitz and the Definition of Art", in Philosophical Studies:An International Journal for Philosophy in the Analytic Tradition, Vol.9, No.5/6 (1958), p.89.
① Morris Weitz, "The Role of Theory in Aesthetics", in The Journal of Aesthetics and Art Criticism, Vol.15, No.1 (1956), p.32.
② Morris Weitz, "The Role of Theory in Aesthetics", in The Journal of Aesthetics and Art Criticism, Vol.15, No.1 (1956), p.27.
③ Stephen Davis, Defintions of Art, New York:Cornell University Press,1991,p.14.
④ Richard Eldridge, An Introduction to the Philosophy of Art, Cambridge:Cambridge University Press,2003, p.17.
⑤ Stephen Davis, Definitions of Art, New York:Cornel University Press,1991, p.11.
①彭锋.《回归当代美学的11个问题》.北京：北京大学出版社,2009年,第101页。
② Maurice Mandelbaum, "FamilyResemblancesand Generalizations Concerning the Arts", in Alex Neill, Aaron Ridley ed., The McGraw-Hill Companies, Inc.,1995, p.200.
① William E. Kennick, "Does traditional aesthetics rest on a mistake? " in Mind 58:67, pp.321-322.
② Lydia Goehr, "Editorial", in the Journal ofAesthetics and Art Criticism,Vol.51,Vo.2 (1993).
③ Richard Shusterman, "Analytic Aesthetics:Prospect and Retrospect", in The Journal of Aesthetics and Art Criticism,Vol.45, Special Issues (1987),p.117.
①富尔基埃.《存在主义》.潘培庆、郝珉译.上海：上海译文出版社,1988年,第120页.
② Peter Kivy, "Difference [The Presidential Address]", in the Journal of Aesthetics and Art Criticism,Vol.51, No.2, 1993, p.124.
③ Arnold Isenberg, "Analytical Philosophy and the Study of Art", in the Journal of Aesthetics and Art Criticism,vol.45, Special Issues (1987),p.125.
① Richard Shusterman, "Analytic Aesthetics:Prospect and Retrospect", in the Journal of Aesthetics and Art Criticism,Vol.45, Special Issues,1987, p.120.
①托马斯·门罗.《走向科学的美学》.石天曙,滕守尧译.北京：中国文艺联合出版社,1985年,第147页.
①阿瑟·丹托.《美的滥用》.王春辰译.南京：江苏人民出版社,2007年,中文版序第5页.
①张志林、陈少明.《反本质主义与知识问题——维特根斯坦后期哲学的扩展研究》.广州：广东人民出版社,1995年,第1页.
②瓦·阿·古辛娜.《分析美学评析》.李昭时译.北京：东方出版社,1990年,第62页.
①Jerrold Levinson,"Refining Art Histo rically,"in the Journal of Aesthetics and Art Criticism,47(1989):p.21.
②理查德·舒斯特曼.《实用主义美学》.彭锋译.北京：商务印书馆,2002年,第17页.
① Richard Shusterman, "Analytic Aesthetics:Prospect and Retrospect", in the Journal of Aesthetics and Art Criticism,vol.45, Special Issues (1987), pp.117-118.
①托马斯·门罗.《走向科学的美学》.石天曙,滕守尧译.北京：中国文艺联合出版社,1985年,第133-4页。
② Marx W. Wartofsky, "The Liveliness of Aesthetics", in the Journal of Aesthetics and Art Criticism, Special Issues 45 (1987),pp.217-218.
① Catherine Z. Elgin & Nelson Goodman, "Changing the Subject", in the Journal of Aesthetics and Art Criticism, Vol.45, Special Issues (1987), p.223.
②刘悦笛.《分析美学史》.北京：北京大学出版社,2009年,第413页.
③ Noel Carroll, Beyond Aesthetics:Philosophical Essays, Cambridge:Cambridge University Press,2003. p.83.
① Tiffany Sutton, "How Museums Do Things Without Words", in The Journal of Aesthetics and Art Criticism, Vol.61, No.1 (2003),p.48.
②阿瑟·C.丹托.《美的滥用——美学与艺术的概念》.王春辰译.南京：江苏人民出版社,2007年,第2页.
①阿瑟·丹托.《艺术的终结》.欧阳英译.南京：江苏人民出版社,2001年,第15页.
②《海德格尔文集》(下),孙周兴译,上海：上海三联书店1996年版,第1244页.
③ Noel Carroll, "Historical Narratives and the Philosophy of Art", in The Journal of Aesthetics and Art Criticism, Vol.,51,1993, p.314.
① Noel Carrol, "Art, Practice and Narrative", in Monist, Vol.71, (1988), pp.140-156;Woltrestorff,1987, the Philosophy of Art after Analysis and Romanticism, in the Journal of Aesthetics and Art Criticism, Vol.45, Special Issue,1987:pp.151-168.
① Noel Carroll, "Historical Narratives and the Philosophy of Art", in the Journal of Aesthetics and Art Criticism, Vol.51 (1993),p.315.
② Nicholas Bunnin & Jiyuan Yu, The Blackwell Dictionary of Western Philosophy, Malden:blackwell publishing Ltd,2004, p.223.
③A.J.艾耶尔《二十世纪哲学》,李步楼等译,上海译文出版社,1987年,第306页。
④ B. D. Ellis, The Philosophy of Nature:A Guide to the New Essentialism, Chesham:Acumen Publishing,2002, p.137.
⑤ B. D. Ellis, The Philosophy of Nature:A Guide to the New Essentialism, Chesham:Acumen Publishing,2002, p.147.
① Stephen Davis, Defintions of Art, in Berys Gaut & Dominic MeIver Lopes ed.,The Routledge Companion to Aesthetics, London & New York:Routledge,2001, p.171.
①Peter Lamarque,"The British Journal of Aesthetics:Forty Years on",in The British Journal ofAesthetics,40 (2000),p.10.
① Peter Kivy, "Differences", in the Journal ofAesthetics and Art Criticism, Vol.51 (1993),p.124.
② Arthur C. Danto, "The Artworld", in the Journal of Philosophy, Vol.61,1964, p.580.
①Jerrold Levinson, "Defining Art Historically," in British Journal of Aesthetics,19 (1979), pp.236-240.
① Jerrold Levinson, "Refining Art Historically," in the Journal of Aesthetics and Art Criticism,47 (1989), p.20.
② Jerrold Levinson, "Refining Art Historically," in the Journal of Aesthetics and Art Criticism,47 (1989), p.27.
① Peter Lamarque, "The British Journal of Aesthetics:Forty Years on", in the British Journal of Aesthetics, Vol. 40, No.1, January 2000, p.11.
②刘悦笛.《分析美学史》.北京：北京大学出版社,2009年,第304页.
③ Peter Lamarque,"The British Journal of Aesthetics:Forty Years on",in the British Journal of Aesthetics,40 (2000),p.10.
④ Wreen Michael, "Beardsley's Aesthetics", http://plato.stanford.edu/entries/eardsley-aesthetics/
⑤ Joseph Margolis, "The Eclipse and Recovery of Analytic Aesthetics", in Richard Shusterman ed., Analytic Aesthetics, New York:Basil Blackwell Ltd,1989, p.161.
① Susan L. Feagin, "Beardsley for the Twenty-First Century", in Journal of Aesthetic Education,44 (2010), p.11.
① Monroe Beardsly, Aesthetics:Problems in the Philosophy of Criticism,2nd ed. Indianapolis:Hackett Publishing Company, Inc.,1981, p.xvii.
① Monroe Beardsly, Aesthetics:Problems in the Philosophy of Criticism,2nd ed. Indianapolis:Hackett Publishing Company, Inc.,1981, p.46.
① Stephen C. Pepper, "Aesthetics from Classical Greece to the Present by Monroe C. Beardsley", the Journal of Aesthetics and Art Criticism,25 (1966), p.214.
② Michael Hancher, "The Possibility of Criticism by Monroe C. Beardsley", in the Journal of Aesthetics and Art Criticism, Vol.30 (1972), pp.391-394.
③ Monroe C. Beardsley, "The Refutation of Relativism", in the Journal of Aesthetics and Art Criticism, Vol.41 (1983),p.266.
④ Monroe C. Beardsley, "The Aesthetic Point of View", in Michael J. Wreen & Donald M. Callen, eds., The aesthetic point of view:selected essays, New York:Comell University Press,1982, p.91.
① Monroe C. Beardsley, "Aesthetic Experience Regained", in the Journal of Aesthetics and Art Criticism,28 (1969), p.3.
① Anita Silvers, "The Aesthetic Point of View:Selected Essays by Monroe Beardsley", in The Journal of Aesthetics and Art Criticism,42 (1983), p.215.
② Monroe C. Beardsley, "An Aesthetic Definition of Art", in Peter Lamarque & Stein Haugom Olsen, eds., Aesthetics and Philosophy of Art:the Analytic tradition, Malden:Blackwell Publishing Ltd.,2004, p.55.
① see Monroe C. Beardsley, An Aesthetic Point Of View,p.352. see also Nicholas Wolterstorff, "Beardsley's Approach",in The Journal of Aesthetics and Art Criticism,63(2005), p.194.
② Monroe C. Beardsley, "An Aesthetic Definition of Art", in Peter Lamarque & Stein Haugom Olsen, eds., Aesthetics and Philosophy of Art:the Analytic tradition, Maiden:Blackwell Publishing Ltd.,2004, p.58.
① George Dickie, "The Origins of Beardsley's Aesthetics", in the Journal of Aesthetics and Art Criticism,63(2005), p.177.
② see Monroe C. Beardsley, An Aesthetic Point Of View,p.. see also Nicholas Wolterstorff, "Beardsley's Approach",in The Journal of Aesthetics and Art Criticism,63(2005), p.192.
③ John Fisher, "Beardsley on Aesthetic Experience", in John Fisher, ed., Essays on Aesthetics:Perspectives on the Work of Monroe C. Beardsley, Philadelphia:Temple University Press,1983, p.95.
④(美)李普曼(Lipman, M.)《当代美学》.邓鹏译.北京：光明日报出版社,1986年,第22页.
① Noel Carroll, "Anglo-American Aesthetics and Contemporary Criticism:Intention and the Hermeneutics of Suspicion", in the Journal of Aesthetics and Art Criticism, Vol.51,1993, p.245.
② Noel Carroll, "Anglo-American Aesthetics and Contemporary Criticism:Intention and the Hermeneutics of Suspicion", in the Journal of Aesthetics and Art Criticism, Vol.51,1993, p.245.
① Noel Carroll, "Anglo-American Aesthetics and Contemporary Criticism:Intention and the Hermeneutics of Suspicion", in the Journal of Aesthetics and Art Criticism,51,1993, p.245.
② Kendall Walton, "Categories of Art," in G.Dickie, R.Sclafani, and R.Robin eds., Aesthetics:A Critical Anthology, 2nd, New York:St.Martin's Press,1989, pp.394-414.
① Stephen Davis, "Beardsley and the Autonomy of the Work of Art", in the Journal of Aesthetics and Art Criticism, Vol.63,2005, p.181.
② Stephen Davis, "'Beardsley and the Autonomy of the Work of Art", in the Journal of Aesthetics and Art Criticism, Vol.63,2005, p.181.
① Stephen Davis. "Beardsley and the Autonomy of the Work of Art", in the Journal of Aesthetics and Art Criticism, Vol.63,2005, p.181.
② Nicholas Wolterstorff, "Beardsley's Approach", in The Journal of Aesthetics and Art Criticism, Vol.63,2005, p.191.
① Monroe C. Beardsley, Aesthetics:Problems in the Philosophy of Criticism,2d ed. P.462.see also William C. Child, Jr., "Monroe Beardsley's Three Criteria for Aesthetic Value:A Neglected Resource in the Evaluation of Recent Music", in Journal of Aesthetic Education,34(2000), p49.
① George Dickie, "Beardsley, Sibley, and Critical Principles", in the Journal of Aesthetics and Art Criticism, Vol.45, 1987,pp.229-238.
② George Dickie, "Beardsley, Sibley, and Critical Principles", in the Journal of Aesthetics and Art Criticism, Vol.45,1987, pp.229-230.
③ George Dickie, "Beardsley, Sibley, and Critical Principles", in the Journal of Aesthetics and Art Criticism,45, Vol.45,1987, p.230.
④ Monroe Beardsley, "On The Gerality of Critical Reasons", p.486. see also George Dickie, "Beardsley, Sibley, and Critical Principles", in the Journal of Aesthetics and Art Criticism, Vol.45, (1987), p.230.
① George Dickie, "Beardsley, Sibley, and Critical Principles", in the Journal of Aesthetics and Art Criticism, Vol.45 (1987), p.237.
② Joseph Margolis, "The Eclipse and Recovery of Analytic Aesthetics", In Richard Shusterman(ed.), Analytic Aesthetics, New York:Basil Blackwell Ltd,1989, p.161.
①Arthur C. Danto, "The Artworld", in the Journal of Philosophy, Vol.61,1964, p.571.
①Arthur Danto, "The Transfiguration of the Commonplace", in the Journal of Aesthetics and Art Criticism,33 (1974), p.148.
② Arthur C. Danto, After the End of Art:Contemporary Art and the Pale of History, Princeton:Princeton University Press,1997, p.195.
③ Stephen Snyder, Arthur Danto's Andy Warhol:The Embodiment of Theory In Art And The Programmatic Turn, p.140. http://www.ledonline.it/leitmotiv/Allegati/Leitmotiv-2010-0-Snyder.pdf
④ Noel Carroll,Beyond Aesthetics:Philosophical Essays, Cambridge:Cambridge University Press,2003. p.98.
①诺埃尔·卡罗尔.《超越美学》.李媛媛译.北京：商务印书馆,2006年,第155页.
② Katherine J. M. Thomson, "Arthur C. Danto's Philosophy of Art and its Implications for the Posthistorical Museum", A thesis submitted to the Department of Philosophy in conformity with the requirements for the degree of Master of Arts, Queen's University Kingston, Ontario, Canada August,1998, p.16.
① Arthur C. Danto, "Embodied Meanings, Isotypes, and Aesthetical Ideas", in The Journal of Aesthetics and Art Criticism,65 (2007),p.125.
① Arthur C. Danto, "Deep Interpretation", in the Journal of Philosophy,78 (1981), pp.698,703.
② Arthur C. Danto, "Art, Evolution, and the Consciousness of History", in the Journal of Aesthetics and Art Criticism,44 (1986), p.230.
③ Arthur C. Danto, "Art, Evolution, and the Consciousness of History", in The Journal of Aesthetics and Art Criticism,44 (1986),p,231.
①Arthur C. Danto, "Deep Interpretation", in The Journal of Philosophy,78 (1981), pp.699-700.
① Arthur C. Danto, "From Aesthetics to Art Criticism and Back", in The Journal of Aesthetics and Art Criticism, 54 (1996) p.113.
② see Arthur C. Danto, After the End of Art p.28. For a discussion of Danto's Hegelianism, see Robert Solomon and Kathleen Higgins, "Atomism, Art, and Arthur Danto's Hegelian Turn," in Danto and His Critics, ed. Mark Rollins. (Cambridge, Eng.,1993), pp.107-126. While they see Danto's relatively recent inclusion of Hegel in his philosophy of art as a sign that he is taking history more seriously, Danto himself introduces Hegel as a model for how to incorporate history into essentialism. Also see Michael Kelly, "Essentialism and Historicism in Danto's Philosophy of Art", History and Theory,37(1998), p.30.
① Arthur C. Danto, After the End of Art:Contemporary Art and the Pale of History, Princeton:Princeton University Press,1997, p.195.
② Michael Kelly, "Essentialism and Historicism in Danto's Philosophy of Art", History and Theory,37(1998), p.31.
① Arthur C. Danto "From Aesthetics to Art Criticism and Back", in the Journal of Aesthetics and Art Criticism, Vol.54,1996, p.114.
①阿瑟·C.丹托.《美的滥用——美学与艺术的概念》.王春辰译.南京：江苏人民出版社,2007年,中文版序,第1页.
② Arthur C. Danto, "From Aesthetics to Art Criticism and Back", in the Journal of Aesthetics and Art Criticism, 54 (1996), p.113.
① Michael Kelly, "Essentialism and Historicism in Danto's Philosophy of Art", History and Theory,37(1998), p.32.
② Arthur C. Danto, "Art, Evolution, and the Consciousness of History", in the Journal of Aesthetics and Art Criticism,44 (1986), p.228.
③阿瑟·丹托.《艺术的终结》.欧阳英译.南京：江苏人民出版社,2001年,第221-222页.
① Arthur C. Danto, After the End of Art:Contemporary Art and the Pale of History, Princeton:Princeton University Press,1997,p.125.可参见中译本丹托.《艺术的终结之后》.王春晨译.南京：江苏人民出版社,2007年,第136页。拙译是我自己的,跟中译本有较大不同。
①Arthur C. Danto, "Art, Evolution, and the Consciousness of History", in The Journal of Aesthetics and Art Criticism,44(1986),p.230.也可参见阿瑟·丹托.《艺术的终结》.欧阳英译.南京：江苏人民出版社,2001年,第221-222页。
②[美]阿瑟·丹托.《艺术的终结之后》.王春晨译.南京：江苏人民出版社,2007年,第34页。
③(德)汉斯·贝尔廷.《艺术史终结了吗?》.常宁生编译.长沙：湖南美术出版社,1999年,第290页。
④阿瑟·丹托.《艺术的终结》.欧阳英译.南京：江苏人民出版社,2001年,第237页.
①阿瑟·丹托.《艺术的终结》.欧阳英译.南京：江苏人民出版社,2001年,第238页.也可参见Arthur C. Danto, "Art, Evolution, and the Consciousness of History", in The Journal of Aesthetics and Art Criticism,44 (1986), p. 233.
②何建良.《“艺术终结论”批判——从黑格尔到丹托》.博士学位论文.浙江大学.2008,第116页.
① Arthur C. Danto, "Art, Evolution, and the Consciousness of History", in the Journal of Aesthetics and Art Criticism,44(1986), p.231.
②阿瑟·丹托.《艺术的终结》.欧阳英译.南京：江苏人民出版社,2001年,第19页.
③ Noel Carroll, Beyond Aesthetics:Philosophical Essays, Cambridge:Cambridge University Press,2003. p.78.
① (Noel Carroll, Beyond Aesthetics:Philosophical Essays, Cambridge:Cambridge University Press,2003. p.81.
②阿瑟·丹托.《艺术的终结》.欧阳英译.南京：江苏人民出版社,2001年,第77页.见刘悦笛.《分析美学史》,北京：北京大学出版社,2009年,第222页.
③ Stephen Davis, "Beardsley and the Autonomy of the Work of Art", in the Journal of Aesthetics and Art Criticism, Vol.63,2005, p.183.
① Susan L. Feagin, "Beardsley for the Twenty-First Century", in the Journal of Aesthetic Education,44 (2010), p.11.
② Nicholas Wolterstorff, "Beardsley's Approach",in The Journal of Aesthetics and Art Criticism, Vol.63,2005, p.194.
③ George Dickie, "The Origins of Beardsley's Aesthetics", in the Journal of Aesthetics and Art Criticism, Vol.63, 2005, p.176.
①克劳斯·霍内夫.《当代艺术》.李宏、滕卫东译.南京：江苏美术出版社,1995年,第12页.
① Noel Carroll, Beyond Aesthetics:Philosophical Essays, Cambridge:Cambridge University Press,2003. p.99.
② Michael Kelly, "Essentialism and Historicism in Danto's Philosophy of Art", in History and Theory,37 (1998), p. 30.
①阿瑟·丹托.《艺术的终结》.欧阳英译.南京：江苏人民出版社,2005,第216页.
②刘悦笛.《分析美学史》.北京：北京大学出版社,2009年,第221页.
① stephen davies. After the End of Art:Contemporary Art and the Pale of History (book review), in the Journal of Aesthetics and Art Criticism, Vol.58,2001, p.214-215.
② Jane Forsey, "Philosophical Disenfranchisement in Danto' s 'The End of Art'", in the Journal of Aesthetics and Art Criticism, Vol.58,2001, p.403-410.
① Jane Forsey, "Philosophical Disenfranchisement in Danto's 'The End of Art'", in the Journal of Aesthetics and Art Criticism,58(2001), p.404.
② Jane Forsey, "Philosophical Disenfranchisement in Danto's 'The End of Art'", in the Journal of Aesthetics and Art Criticism,58(2001), p.404-407.
③ Jane Forsey, "Philosophical Disenfranchisement in Danto's' The End of Art'", in The Journal of Aesthetics and Art Criticism, Vol.58,2001, p.407..Michael Kelly, "Essentialism and Historicism in Danto's Philosophy of Art", in History and Theory,1998, p.39.
①诺埃尔·卡罗尔《超越美学》,李媛媛译,商务印书馆,2006年,第121页。
②George Dickie, The Art Circle Reviewed by jeffrey wieand,44(1985), p.80.
①金慧敏,霍桂桓.《西方美学史》(第四卷).北京：中国社会科学出版社,2008年,第450页。
② Catherine Lord, "Indexicality, Not Circularity:DICKIE's New Definition of Art", in The Journal of Aesthetics and Art Criticism, Vol.45,1987, p.232.
③ see George DICKIE, The Art Circle Reviewed by Jeffrey Wieand,44 (1985); "Definition of Art", in Levinson, Jerrold. (ed.), The Oxford Handbook of Aesthetics, Oxford:Oxford University Press, pp.136-54.; Levinson, Review of Dickie, The Art Circle. Philosophical Review, XCVI (1987), p.145.
④ Catherine Lord, "Indexicality, Not Circularity:DICKIE's New Definition of Art", in the Journal of Aesthetics and Art Criticism, Vol.45,1987, p.229.
⑤ Peter Gyorgy, "Between and After Essentialism and Institutionalism", in the Journal of Aesthetics and Art Criticism, Vol.57,1999, p.422.
① Richard J. Sclafani,"Art as a Social Institution:Dickie's New Definition",in the Journal of Aesthetics and Art Criticism, Vol.32,1973, pp.113-114.
② Alexandre Erler, Dickie'S Institutional Theory And The "Openness" Of The Concept Of Art, Postgraduate Journal of Aesthetics,3(2006), p.114.
③ Lauren Tillinghast, "The Classificatory Sense of "Art", in The Journal of Aesthetics and Art Criticism,61 (2003), p.133.
①江怡,《分析哲学史》(第八卷下),叶秀山,王树人主编,南京：江苏人民出版社,2005年,第974页.
① Lydia Goehr, "Institutionalization of a Discipline:Retrospective of the Journal of Aesthetics and Art Criticism and the American Society for Aesthetics.1939-1992", the Journal of Aesthetics and Art Criticism, Vol.51, No.2, 1993, p.101.
①舒斯特曼.《实用主义美学》.彭锋译.北京：商务印书馆。2002年,第20页.
① Morris Weitz, "The Role of Theory in Aesthetics", in The Journal of Aesthetics and Art Criticism,15 Sept.1956, pp.30-31.
②姬志闯.《美学的“认识论转向”：“构造世界”视域内的艺术诊断——纳尔逊古德曼的美学思想及其当代意蕴》.《哲学动态》.2010年,第3期,第85页。
① Richard Shusterman, "Analytic Aesthetics:Prospect and Retrospect", in the Journal of Aesthetics and Art Criticism,vol.45, Special Issues,1987, p.121-122.
① http://en.wikipedia.org/wiki/Richard Shusterman
② Richard Shusterman, "Art as Dramatization", in the Journal of Aesthetics and Art Criticism, vol.59 (2001), pp.363-372.
③ Richard Shusterman, "Art as Dramatization", in the Journal ofAesthetics and Art Criticism,vol.59 (2001), pp.365-367.
④ Richard Shusterman, "Art as Dramatization", in the Journal of Aesthetics and Art Criticism, vol.59(2001), p.367.
⑤ Richard Shusterman, "Art as Dramatization", in the Journal of Aesthetics and Art Criticism, vol.59 (2001), p.367.
① Casey Hankins,Review of Pragmatist Aesthetics:Living Beauty, Rethinking Art, in the Journal of Aesthetics and Art Criticism, vol.50 (1992:4), p.329.
② Paul C. Taylor, Review of Practicing Philosophy:Pragmatism and the Philosophical Life, vol.57 (1999:1), p.90.
③理查德·舒斯特曼.《实用主义与亚洲美学》.《美学与文化：东方与西方》.高建平、王柯平主编.合肥：安徽教育出版社,2006年,第311页。
① Casey Hankins, Review of Pragmatist Aesthetics:Living Beauty, Rethinking Art, in the Journal of Aesthetics and Art Criticism, Vol.50, (1992:4), p.329.
①Yuriko Saito, Everyday Aesthetics, Oxford:OxfordUniversity Press,2008, p4-5.
①江怡.《分析哲学史》(第八卷下).叶秀山,王树人主编.南京：江苏人民出版社,2005年,第725页。
① Peter Kivy, "Differences", in The Journal of Aesthetics and Art Criticisism,Vol.51,No.2 (1993) p.131.
② Kendall Walton, "Aesthetics--What? Why? and Wherefore?", in the Journal of Aesthetics and Art Criticism,Vol.65, No.2,2007, p.149. This is a revised version of his 2004 Presidential Address for the American Society for Aesthetics.
① Arthur Danto, "Moving Pictures," Quarterly Review of Film Studies 2 (1979):1-24, see p.7. Also see Kendall Walton, "Aesthetics--What? Why? and Wherefore?", in The Journal of Aesthetics and Art Criticism, Vol.65, No.2,2007, p.148.
② Kendall Walton, "Aesthetics--What? Why? and Wherefore?", in the Journal of Aesthetics and Art Criticism, Vol.65, No.2,2007, p.148.
③ Morris Weitz, "The Role of Theory in Aesthetics", in The Journal of Aesthetics and Art Criticism, Vol.15 Sept. 1956, p.32.
①肯尼克.《传统美学是否建立在错误的基础之上?》.蒋孔阳编.《二十世纪西方美学名著选》.上海：复旦大学出版社,1998年版,第102-110页.
② J.A.Passmore,"The Dreariness of Aesthetics", also see Richard Shusterman, "Analytic Aesthetics:Prospect and Retrospect", in The Journal of Aesthetics and Art Criticism,Vol.45, Special Issues (1987), p.118.
① Noel Carroll, Beyond Aesthetics:Philosophical Essays, Cambridge:Cambridge University Press,2003. pp. 39-40.
① peter gyorgy, "Between and Essentialism and Institutinalism", in the Journal of Aesthetics and Art Criticism,Vol.57, No.4,1995, p.421.
② Aaron Meskin, "From Defining Art to Defining the Individual Arts:The Role of Theory in the Philosophies of Arts"in New Waves in Aesthetics, eds. by Kathleen Stock & Katherine Thomson-Jones, Hampshire & New York: Palgrave Macmillan, p.126.
③ Kendall Walton,"esthetics--What? Why? and Wherefore?", in the Journal of Aesthetics and Art Criticism, Vol.65, No.2,2007, pp.23-24.
① Aaron Meskin, "From Defining Art to Defining the Individual Arts:The Role of Theory in the Philosophies of Arts"in New Waves in Aesthetics, eds.by Kathleen Stock & Katherine Thomson-Jones, Hampshire & New York: Palgrave Macmillan, p.126.
② Aaron Meskin, "From Defining Art to Defining the Individual Arts:The Role of Theory in the Philosophies of Arts"in New Waves in Aesthetics, eds.by Kathleen Stock & Katherine Thomson-Jones, Hampshire & New York: Palgrave Macmillan, p.126.
③ Aaron Meskin,"From Defining Art to Defining the Individual Arts:The Role of Theory in the Philosophies of Arts"in New Waves in Aesthetics, eds.by Kathleen Stock & Katherine Thomson-Jones, Hampshire & New York: Palgrave Macmillan, p.127.
① Kendall Walton, "Aesthetics--What? Why? and Wherefore?", in the Journal of Aesthetics and Art Criticism,Vol.65, No.2,2007, p.149.
① Richard Shusterman,"Analytic Aesthetics:Prospect and Retrospect", in the Journal of Aesthetics and Art Criticism,Vol.45, Special Issues (1987), p.118.
② Arthur C. Danto, "A Future for Aesthetics", in the Journal ofAesthetics and Art Crticism,Vol.51, No.2 (1993) p.271.
③ Noel Carroll, Beyond Aesthetics:Philosophical Essays, Cambridge:Cambridge University Press,2003. Preface.)
① J.A.Passmore,"The Dreariness of Aeshtetics," in Mind 60(1951); reprinted in Aesthetics and Language,ed. William Elton (Oxford,1954), Also see Anita Silvers, "Aesthetics for Art's Sake, Nor for Aesthetics", in The Journal of Aesthetics and Art Criticism, Vol.51, No.2 (1993) p.149.
② Ferenc Feher & Agnes Heller, "The Necessity and the Irreformability of Aesthetics," in Reconstructing Aesthetics: Writings of the Budapest School, eds. A. Heller and F. Feher(Oxford:Basil Blackwell,1986, p.14.Also see Peter Kivy, "Differences", in The Journal of Aesthetics and Art Criticism,vol.51, no.2 (1993) p.131.
③ Aaron Meskin, "From Defining Art to Defining the Individual Arts:The Role of Theory in the Philosophies of Arts" in New Waves in Aesthetics, eds.by Kathleen Stock & Katherine Thomson-Jones, Hampshire & New York:Palgrave Macmillan, p.126.
④ Jane Forsey, "Philosophical Disenfranchisement in Danto' s 'The End of Art'", in The Journal of Aesthetics and Art Criticism,vol.59,no.4 (2001) pp.403-410.
① J.A.Passmore,"The Dreariness of Aeshtetics,"Mind 60(1951);reprinted in Aesthetics and Language,ed. William Elton (Oxford,1954), Also see Anita Silvers, "Aesthetics for Art's Sake, Nor for Aesthetics", in the Journal of Aesthetics and Art Criticism, Vol.51, No.2 (1993) p.149.
① Aaron Meskin, "From Defining Art to Defining the Individual Arts:The Role of Theory in the Philosophies of Arts"in New Waves in Aesthetics, eds.by Kathleen Stock & Katherine Thomson-Jones, Hampshire & New York: Palgrave Macmillan, p.126.
② Peter Lamarque, "Reflections On Current Trends In Aesthetics", Postgraduate Journal of Aesthetics, Voll, No. 1, April 2004, p.2.
① Arthur Danto, "the Artworld", in The Journal of Philosophy, Vol.61, No.19, American Philosophical Association Eastern Division Sixty-First Annual Meeting. (Oct.15,1964), p.582.
② Richard Shusterman, "Analytic Aesthetics:Prospect and Retrospect", in the Journal of Aesthetics and Art Criticism,vol.45, Special Issues (1987), p.115.
①刘悦笛.《分析美学史》.北京：北京大学出版社,2009年,第277页。
①刘悦笛.《分析美学史》.北京：北京大学出版社,2009年,第272页。
①布尔迪厄.《艺术的法则：文学场的生成和结构》.刘晖译.北京：中央编译出版社,2001,第345—346页。
①布尔迪厄、华康德.《实践与反思—反思社会学导论》.李猛、李康译.北京：中央编译出版社,1998,第134页。
② Pierre Bourdieu, "the Historical Genesis of a Pure Aesthetics", in The Journal of Aesthetics and Art Criticism,vol.45, Special Issues(1987),p.202.也可参照布尔迪厄.《艺术的法则：文学场的生成和结构》,刘晖译.北京：中央编译出版社,2001,第346页。
③布尔迪厄,《艺术的法则：文学场的生成和结构》,刘晖译,北京：中央编译出版社,2001,第346页。
① Pierre Bourdieu, "the Historical Genesis of a Pure Aesthetics", in the Journal of Aesthetics and Art Criticism,Vol.45, Special Issues (1987), pp.207-208.
② Pierre Bourdieu, "the Historical Genesis of a Pure Aesthetics", in the Journal of Aesthetics and Art Criticism,Vol.45, Special Issues (1987), p.206.
③布尔迪厄.《艺术的法则：文学场的生成和结构》.刘晖译.北京：中央编译出版社,2001,第344页。
①宋国栋.《艺术的放逐与审美的拯救——后现代语境中的反本质主义美学批判研究》：[博士学位论文],华东师范大学,2007年.第88页.
① Rudolf Arnheim, "Beauty as Suitability", in the Journal of Aesthetics and Art Criticism, Vol.54, No.3 (Summer, 1996), pp.251-253:252-253.
② David Carrier, "Gombrich and Danto on Defining Art", in the Journal of Aesthetics and Art Criticism, Vol.54, No.3 (Summer,1996), pp.279-281,280)
③ Mars W. Wartofsky, the Liveliness of Aesthetics, The Journal of Aesthetics and Art Criticism,vol.45, Special Issues,1987,p.212.
① Monroe Beardsly, Aesthetics:Problems in the Philosophy of Criticism,2nd ed. Indianapolis:Hackett Publishing Company, Inc.,1981, p.11. Also see Stephen Davis ed., A Companion to Aesthetics:The Blackwell Companion to Philosophy (2nd ed.), Blackwell:Blackwell Publishing Ltd., p.72.
① Monroe C. Beardsley,"Editorial", in The Journal of Aesthetics and Art Criticism, Vol.32, No.2 (Winter,1973), pp. 143-145.
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① William V. Dunning, The Concept of self and Postmodern Painting:Constructing a Post-Cartesian Viewer, in the Journal of Aesthetics and Art Criticism Vol.49, No.4,1991,p.331.
② Arthur C. Danto, Seeing and Showing, in the Journal of Aesthetics and Art Criticism Vol.59, No.l,2001, pp.1-9.
③ Marx Wartofsky, "The Paradox of Painting; Pictorial Representation and the Dimensionality of Visual Space," Social Research 51(1984), p.865. See also Arthur C. Danto, Seeing and Showing, in the Journal of Aesthetics and Art Criticism Vol.59, No.1,2001, p.1.
① Noel Carroll, "Modernity and the Plasticity of Perception", in the Journal of Aesthetics and Art Criticism Vol.59,No.1,2001, pp.11-17.
①江怡.《分析哲学史》(第八卷下).叶秀山、王树人主编.南京：江苏人民出版社,2005年,第725页。
①瓦·阿·古辛娜.《分析美学评析》.李昭时译.北京：东方出版社,1990年,第62页。
①Peter Kivy, "Differences", in The Journal of Aesthetics and Art Criticism,Vol.51, No.2 (1993) p.124.
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