阿诺德·伯林特审美理论研究
|
摘要
从18世纪开始,美学一直被认为是对于艺术和自然之美的研究,尽管20世纪初期以来,艺术类型、艺术风格以及艺术理论历经变化,艺术范围不断扩展,自然这一概念也经历了彻底的改变,后现代主义对于传统理论原则的抛弃也为美学的发展扫清了很多障碍。然而,美学作为艺术哲学的分析美学的传统影响依然强大,从目前的发展趋势来看,在为重建基于艺术实践和欣赏体验的审美理论的努力中,美学学科的成效甚微。
美国学者阿诺德·伯林特积极寻求构建一种基于审美体验的涵盖范围广泛的审美理论,以突破传统美学的理论困境。源于现象学与实用主义的哲学理论,基于一种非二元论的连续性的审美视野,伯林特从审美体验出发,围绕审美场、审美交融、审美感知力等关键词,建立起一种独特的审美理论体系,使欣赏体验中的审美交融模式突破了康德的审美静观模式,美学因而回归了作为体验或感知学科的本源意义,而他所阐释的语境美学和体验美学也将美学与艺术、自然、环境、社会等各个审美维度在一个极具包容性的审美交融理论中完美地结合了起来,形成了他的丰富的艺术美学、环境美学和社会美学思想,而审美交融理论最终成就了伯林特新美学的理论构想,将会成为美学历史发展中一个新的转折点。
本研究立足于哲学与美学学科发展的整体理论语境,力图系统全面地论述伯林特的审美理论及其美学思想。通过对其审美理论的形成背景、哲学根源、建构过程、内涵与特征、发展脉络、理论运用及其意义的考察与分析,重点阐述伯林特的审美场、审美交融与审美感知力三大审美理论形成、发展到成熟的过程及其在艺术、自然、环境与社会的具体审美情境中的运用,剖析其审美理论的特质及美学思想的内涵,揭示伯林特的审美理论如何以及在何种程度上突破了传统美学的局限,引领了美学研究中的交融性、语境性、连续性及身体化等等的转向,并引导人们从宏观的角度反思美学发展的历史与现状,走向一种超越艺术的美学和一个人性化的审美世界。
全文包括导论、正文五章及结语,共七个部分。
导论首先从介绍伯林特的履历入手,简述他的生平、学术生涯、著作及所取得的荣誉,然后论述其审美理论的发展历程及国内外研究现状,勾勒其理论框架和发展脉络,阐明其理论在世界哲学与美学研究领域中的影响力,最后介绍本论文的研究方法、研究目的、研究意义及创新性等。作为当代美学尤其是环境美学领域的领军人物,伯林特倾尽毕生才华,苦心孤诣,用了将近半个世纪的时间来建构他的兼容并包的审美理论,并最终初步改造了美学学科,值得进行个案研究。本文旨在结合前人的研究成果,力求全方位地、客观地、系统地对伯林特的审美理论进行有效的梳理,展示其理论价值,定位其理论成就,以促进美学的进步和人类世界的审美化进程。
第一章论述伯林特审美理论的哲学根源,追溯其理论起源,以探求其美学思想发展的连续性。胡塞尔现象学的还原以悬置一切假设与先见为中心,使伯林特回归到对于美学学科的本源意义的探索,追寻美学的体验与知觉特征,因而成为他所有审美理论的哲学基础。梅洛-庞蒂的身体现象学直接引领了伯林特美学身体化的转向,使其创立了语境性的身体观及环境体验的语境模式；伯林特也借鉴了梅洛-庞蒂的知觉合作理论,作为他交融美学的中心特征。而杜夫海纳对于感官经验的强调使伯林特认识到体验的重要性,成为他审美理论的体验基础。杜威的实用主义一元论哲学思想对伯林特的影响更是毋容置疑的,人是环境中的参与者的理念推动伯林特提出整体连续性的环境观,因而,杜威的连续性哲学思想将审美、艺术与日常经验相结合,成为伯林特环境美学的又一哲学来源。总之,伯林特借鉴和吸收了现象学方法论和以实践为中心的实用主义的理论精华,最终集中体现在他对审美的感知体验的强调上,并以此为核心建构了自己的审美理论体系。
第二章集中探讨伯林特于20世纪70年代建立起来的审美场理论,挖掘现象学在审美场理论中的运用,探析他的审美体验现象学的形成过程。审美场是一个复杂的动态的审美体验情境,描述了欣赏体验中互相依存的四大要素：艺术对象、感知者、艺术家和表演者,也包含生物的、心理的、技术的、历史的、社会的以及文化的调节因素,这诸多因素共同构成一个体验的“审美交往”的审美情境。审美场理论是伯林特早期的学术成果,也是一种崭新的美学观念,成为他以后审美理论发展的基石。在审美场的体验情境中,伯林特用一种现象学的方法来描述审美体验,通过探讨环境中的三种审美体验模式,阐释了他的环境的现象学美学。他也试图将作为方法的现象学和作为实践的实用主义与美学融合在一起,这几乎改变了通常的美学研究进程,充分体现了他的审美交融的理论观点,不仅应用于审美理论之中,也适用于美学研究方法,可以作为一个普遍的理论来应用。
第三章主要探讨伯林特90年代形成的审美交融理论以及他丰富的艺术美学和环境美学思想。审美无利害性基于传统的二元主义,将美学囿于远距离的、静观的审美欣赏模式,排除了体验中的身体维度和社会维度,从而不恰当地引导了审美欣赏,阻碍了美学的发展。在对审美无利害性进行批判反思的基础上,在现代艺术对于体验的连续性的吁求中,伯林特提出了著名的审美交融观。审美交融描述的是审美体验的特征,是完全的联觉融合,要求欣赏者多感官的全身心的投入。审美交融将感知者和审美对象融为一个知觉的统一体,展示了至少三种相关的特征：连续性、知觉合作与参与性,将对艺术、自然、环境和社会的审美欣赏融为一体,代替了无利害的静观欣赏模式,突破了二百多年来美学作为一门艺术哲学的理论局限,可以说是对美学学科的重铸。在音乐、绘画、舞蹈等艺术多维的审美情境中,伯林特通过清晰地展示审美交融的特征而诠释了他的艺术美学思想。而审美交融的观点在他的环境美学中体现得更为鲜明,成为他的环境观和环境美学的核心概念,因此,在伯林特的理论阐释中,环境成为感知者与审美情境的融合,人与环境成为体验的连续的统一体,环境美学也成为研究环境中的审美体验问题,一切二元论的分离都消融在连续性的体验之中,这就使他的环境美学可以触及环境中的所有不同领域,体现了伯林特美学的广泛性与流动性的特点。
第四章转向对伯林特近来的哲学维度——审美感知力和社会美学的研究。在审美的历史语境中,“美”被认为是静观审美对象时的愉悦感,只有美的艺术和自然才能进入美学的领域。伯林特力图突破这种传统的审美观,认为“美”具有丰富的含义,包含不同形式的多样价值的审美满足感,而“美”的核心意义应该被理解为一种肯定的审美价值,“美”不再是一种审美对象的特征,而更是一种审美情境的品质,这样,“美”就成为语境性的了。“审美”是一种感官体验的模式或能力,审美的力量就在于它独特的感知体验的能力,既包含肯定的也包含否定的审美体验,而且,所有的感知体验中都存在着审美的维度,审美是无处不在的。伯林特对于美与审美的阐释表现了人类世界的审美转变,使审美由过去只关注美的艺术拓展至如今包含艺术、自然、环境及人类社会生活在内的所有领域,使审美成为美学的核心概念。在探求审美知觉和审美体验的过程中,审美感知力的重要性凸显出来,伯林特将审美感知力界定为一种敏锐的富含鉴别力的知觉意识,而现代艺术调动了我们的触觉和运动感觉的审美感知力,使审美知觉超越了传统的视觉和听觉,从而大大拓展了审美感知力的范围,也使伯林特由对环境美学的研究转向对社会美学的探求,试图挖掘人类关系中的审美维度,探析文化、政治与社会理论中的审美观点与审美价值。
第五章从伯林特审美理论的贡献与缺憾及存在的争议着手,以期客观公正地对其审美理论进行评价。伯林特基于体验的审美理论使审美的范围超越了艺术和自然从而包含了日常生活和社会关系等各个领域,这极大地拓展了审美活动的边界和美学研究的范围。与此同时,伯林特将体验作为审美的中心,使美学回归了其词源学的本意,并且提出了审美交融的欣赏模式,用“交融”取代“无利害性”,用“连续性”取代分离,标志着一种新美学的诞生。总之,伯林特试图发展一种关于审美体验的普遍理论,为我们探求美学的发展提供了一种连续性和描述性的方法,因此,他对于美学的贡献不仅仅如他所涉及的宽泛的主题这么简单,也体现在他对于美学这一学科本身所具有的深刻洞察力上以及他对于构建和谐社会和完美世界所付出的努力上。然而,伯林特审美理论中对于审美知觉的强调弱化了情感、想象和知识在审美体验中的重要作用,学界对他的审美交融理论能否作为普遍的审美理论来运用也存在争议,因此,伯林特的审美理论还存在提升的空间。
结语部分探讨伯林特的美学如何远远超越了艺术,阐明他的审美理论突破传统理论的历史必然性,并指出了他的美学思想与审美理论中所存在的主要问题以及他为解决这些问题所作的一些设想。伯林特所揭示的现代艺术连续性与语境性的特征,使艺术可以与自然环境、都市环境以及文化环境融为一体,从而使我们有望生活在一个艺术、自然、环境、文化与社会完美融合的审美世界中,他的美学构想及其探索精神为实现我们审美地生活的目标提供了继续前行的动力,为美学的未来发展指明了方向。
Since eighteenth Century, aesthetics has been regarded as a study to the beauty of art and of nature. Although from the beginning of the twentieth Century, the type of art, the artistic style and art theories have experienced changes, the scope of art has expanded increasingly, nature has undergone radical changes, post modernism has also cleared away the obstacles for the development of aesthetics as an abandon of the traditional theoretical principles, however, traditional aesthetics as the philosophy of art still contains strong effects. From the view of the current development trend, during our effort for the reconstruction of aesthetic theories based on the artistic practice and appreciative experience, the discipline of aesthetics has got little achievements.
In the theoretical dilemma of aesthetics' unable to break through the traditional philosophy of art, American scholar Arnold Berleant goes beyond the limitations of traditional aesthetics in view of the construction of aesthetic engagement. Based on an aesthetic vision of beyond dualism, starting from the angle of aesthetic experience, Berleant establishes an unique system of aesthetic theories centering on aesthetic field, aesthetic engagement and aesthetic sensibility. Thus the mode of aesthetic engagement in appreciative experience replaces Kant's mode of aesthetic contemplation which is a revolution in the field of contemporary aesthetics. Aesthetics therefore transforms from a discipline for the study of the beauty of art and nature to that of aesthetic experience or sensibility which returns it to the original meaning of etymology——"perception by the senses". Hence, aesthetics combines all of the aesthetic situations such as art, nature, environment and society perfectly in an inclusive theory of aesthetic engagement through his interpretation of contextual aesthetics and experiential aesthetics. It may be considered that aesthetic engagement finally helped to shape Berleant's ideal theoretical achievement of a new aesthetics which will become a new turning point in the development history of aesthetics.
Established in the whole theoretical context for the development of the discipline of aesthetics, this paper strives to discuss Berleant's aesthetic theories and aesthetic ideas systematically and comprehensively. Through the investigation and analysis to the forming background, philosophical origin, construction process, meanings and features, application and significance of his aesthetic theories, I will focus on the developing process of Berleant's three aesthetic theories——aesthetic field, aesthetic engagement and aesthetic sensibility from stage of emergence and growth to that of mature and their application in the specific aesthetic situations of art, nature, environment as well as society, and profoundly analyze the characteristics of his aesthetic theories and the connotation of his aesthetic ideas in order to reveal how and to what extent Berleant's aesthetic theories break through the traditional aesthetic shackles and lead a turning to aesthetic engagement, contextuality, continuity and embodiment in aesthetic research and also guide people a macroscopic reflection of aesthetic history and current situations and thus move to an aesthetics beyond art and a humanized aesthetic world.
The paper includes altogether seven parts:the introduction, the main body of five chapters and the conclusion.
Starting from the biographical presentation of Berleant, the introduction involves his life, his academic career, his works and the honors he achieved, and then discusses the development history and the research current status of his aesthetic theories at home and abroad in order to achieve a clear intuitive description, outline his theoretical framework, expound his influence in the philosophical and aesthetic fields of the world, and finally point out the research ideas, research methods, research purposes, research meanings and research innovation of this paper. As a leading figure in contemporary aesthetics especially in the field of environmental aesthetics, Berleant makes every effort to construct his inclusive aesthetic theories within nearly half a century of time and ultimately recasts the aesthetics discipline. This is really worthy of study. Combined with the previous studies of my predecessors and my own understanding and interpretation, I wish to make a comprehensive, objective and systemic research of his aesthetic theories and to reveal its theoretical values and achievements in order that it can make some improvements for the development of aesthetics.
The first chapter discusses the philosophical roots of Berleant's aesthetic theories for tracing back to the theoretical origin and exploring the historical continuity of aesthetics. Husserl's phenomenological reduction centers on suspension of all the assumptions and makes Berleant return to the original meaning of aesthetics in pursuit of aesthetic experience and perception which becomes the philosophical basis of all of his aesthetic theories; Merleau-Ponty's somatic phenomenology directly leads to a turning for Berleant's somatic aesthetics and helps him establish the contextual view of body and the contextual mode of environment experience. Berleant also borrows from Merleau-Ponty the theory of perception integration as center features of his engagement aesthetics; Dufrenne's emphasis on sensory experience makes Berleant aware of the importance of experience and becomes experiential basis of his aesthetic theories; The effect of Dewey's philosophy of pragmatism to Berleant is beyond doubt, and the idea that human becomes participants in the environment makes Berleant put forward the conception of overall continuity of environment. So we can say, the continuity of Dewey's philosophy combines aesthetics, art and everyday experience which becomes another philosophical source of Berleant's environmental aesthetics. In short, Berleant makes up his own system of aesthetic theories by connecting phenomenological method and pragmatism with practice as the center and finally concentrating on the aesthetic perception.
Berleant's theory of aesthetic field formed in the seventies of20th Century will be investigated in chapter two for digging out its application of phenomenology in aesthetic field and for exploring the developing process of his phenomenology of aesthetic experience. The theory of aesthetic field is his early academic achievement and also becomes a cornerstone of his later aesthetic theories. Aesthetic field is a complex dynamic situation of aesthetic experience illustrating the the four elements combined together in appreciative experience:art object, perceiver, artist and performer, containing biological, psychological, technical, historical, social and cultural factors which constitute an aesthetic situation of "aesthetic transaction". Aesthetic field is also a kind of perceptual field and is a comprehensive sensory response to resort to all human senses. This is a brand-new aesthetic idea and is based on empirical mode of aesthetics. Berleant makes a phenomenological description for aesthetic experience and explains his phenomenological aesthetics of environment through three kinds of aesthetic experience modes in the environment. He attempts to blend aesthetics well together with phenomenology as method and pragmatism as practice and this idea nearly changes the general research process of philosophy and fully embodies an idea that his theory of aesthetic engagement not only applies to the aesthetic theory but also to the aesthetics research methods which can be used as an general theory.
The third chapter mainly concerns Berleant's theory of aesthetic engagement formed in90's as well as his rich ideas in art aesthetics and environmental aesthetics. Based on the traditional philosophical dualism, Disinterestedness limits aesthetics in an appreciative mode of distance and contemplation and neglects the physical and social dimensions of experience excessively, which guides the aesthetic appreciation improperly and prevents the development of aesthetics. On basis of the criticism of disinterestedness and in the appeal of modern art for the continuity of experience as well as in Berleant's effective interpretation for the various categories of art perception, he puts forward the famous participatory concept of aesthetic engagement between appreciator and art object. Aesthetic engagement is to describe the characteristics of the aesthetic experience and is a kind of experience of appreciative engagement with multisensory involvement of the appreciator. Blending the perceiver and aesthetic object into one unity, aesthetic engagement exhibits at least three related characteristics:continuity, perceptual integration and participation. It combines the appreciation of art, nature, environment and society together and replaces disinterested appreciative mode of contemplation and breaks through the theoretical limitations of aesthetics as an art philosophy for200years and can be regarded as a recasting to the aesthetics discipline. In the various aesthetic situations of art such as music, painting and dance etc, Berleant explains his ideology on art aesthetics through a clear exhibition of the features of aesthetic engagement which is a more effective embodiment in his environmental aesthetics and becomes the core concept of his view of environment and environmental aesthetics. And thus environment comes to be a fusion of perceiver and environmental situations, man and environment be a continuous unity of experience, environmental aesthetics be a study of aesthetic experience in environment, thus, all the separations of dualism melt into the continuity of experience, so that Berleant's environmental aesthetics can be elaborated in all different areas in the environment and embodies the characteristics of universality and fluidity of Berleant's aesthetics.
Chapter four turns to the study of sensibility and social aesthetics Berleant recently concerns. In the aesthetic context of history, the beauty of art and nature is higher than practical, pragmatic and functional art so that only the beauty of art and nature could enter into the field of aesthetics. Berleant tries to breakthrough the traditional aesthetic view and regards "beauty" as positive aesthetic values and then the concept of "beauty" changes from the feature of aesthetic objects to the quality of aesthetic situations. There is no ontology of beauty but just epistemology of beauty. Because there is an aesthetic dimension in all perceptual experience which is positive as well as negative, so, the aesthetic is omnipresent. Berleant expands the meanings of beauty and the aesthetic by this re-interpretation of them and extends the aesthetic from past only paying attention to beauty of art to now all areas including art, nature, environment and human social life and makes the aesthetic become the core concept of aesthetics. In the process of exploring aesthetic perception and aesthetic experience, the importance of sensibility becomes prominent. Berleant defines sensibility as an acute perceptual consciousness and modern art stimulates our sensibility of tactile and kinaesthesis, which transcends the traditional auditory and visual perception and greatly expands the scope of sensibility and also encourages Berleant make a change from a study of environmental aesthetics to that of the social aesthetics by trying to excavate the aesthetic dimensions in human relations and explore the aesthetic ideas and aesthetic values in cultural, political and social theories.
The fifth chapter starts from an analysis of Berleant's contribution and shortcomings of his aesthetic theories in order to make an objective and fair evaluation of his aesthetic theories. Berleant's aesthetic theories based on experience make aesthetic realm beyond art and nature to include all areas of daily life and social relations, which greatly expands the boundary of aesthetic activities and the scope of aesthetic study. At the same time, Berleant places experience in the center of the aesthetic which makes aesthetics a discipline of aesthetic experience and his aesthetics of engagement marks the birth of a new aesthetics with "engagement" as a replacement of "disinterestedness" and with "continuity" as a replacement of separation. In sum, Berleant pursues a general theory of aesthetic experience, but neither deny the diversity of individual experience which provides a continuous aesthetic vision for our exploration of the development of aesthetics theories. However, Berleant's emphasis on aesthetic perception in his theories weakens the important role imagination, emotion and knowledge played in aesthetic experience and there still exists a question whether his theory of aesthetic engagement could be improved to be a general theory, so his aesthetic theories still have a development space to be promoted.
The conclusion part inquires of how far Berleant's aesthetics goes beyond the arts and clarifies the historical necessity of his aesthetic theories as a breakthrough of the traditional theory and also points out the main problems in his aesthetic ideas and aesthetic theories and even his assumptions for solving these problems. The continuous and contextual features of modern art Berleant revealed makes it possible for art engages into natural, urban and cultural environment so that we may live in an artistic, natural, environmental, cultural and social unity of aesthetic world. The aesthetic conception of Berleant and his spirit of exploration provide for us the powers of moving forward for the realization of our aesthetic life goal and hence lead to a new direction for the future development of aesthetics.
美国学者阿诺德·伯林特积极寻求构建一种基于审美体验的涵盖范围广泛的审美理论,以突破传统美学的理论困境。源于现象学与实用主义的哲学理论,基于一种非二元论的连续性的审美视野,伯林特从审美体验出发,围绕审美场、审美交融、审美感知力等关键词,建立起一种独特的审美理论体系,使欣赏体验中的审美交融模式突破了康德的审美静观模式,美学因而回归了作为体验或感知学科的本源意义,而他所阐释的语境美学和体验美学也将美学与艺术、自然、环境、社会等各个审美维度在一个极具包容性的审美交融理论中完美地结合了起来,形成了他的丰富的艺术美学、环境美学和社会美学思想,而审美交融理论最终成就了伯林特新美学的理论构想,将会成为美学历史发展中一个新的转折点。
本研究立足于哲学与美学学科发展的整体理论语境,力图系统全面地论述伯林特的审美理论及其美学思想。通过对其审美理论的形成背景、哲学根源、建构过程、内涵与特征、发展脉络、理论运用及其意义的考察与分析,重点阐述伯林特的审美场、审美交融与审美感知力三大审美理论形成、发展到成熟的过程及其在艺术、自然、环境与社会的具体审美情境中的运用,剖析其审美理论的特质及美学思想的内涵,揭示伯林特的审美理论如何以及在何种程度上突破了传统美学的局限,引领了美学研究中的交融性、语境性、连续性及身体化等等的转向,并引导人们从宏观的角度反思美学发展的历史与现状,走向一种超越艺术的美学和一个人性化的审美世界。
全文包括导论、正文五章及结语,共七个部分。
导论首先从介绍伯林特的履历入手,简述他的生平、学术生涯、著作及所取得的荣誉,然后论述其审美理论的发展历程及国内外研究现状,勾勒其理论框架和发展脉络,阐明其理论在世界哲学与美学研究领域中的影响力,最后介绍本论文的研究方法、研究目的、研究意义及创新性等。作为当代美学尤其是环境美学领域的领军人物,伯林特倾尽毕生才华,苦心孤诣,用了将近半个世纪的时间来建构他的兼容并包的审美理论,并最终初步改造了美学学科,值得进行个案研究。本文旨在结合前人的研究成果,力求全方位地、客观地、系统地对伯林特的审美理论进行有效的梳理,展示其理论价值,定位其理论成就,以促进美学的进步和人类世界的审美化进程。
第一章论述伯林特审美理论的哲学根源,追溯其理论起源,以探求其美学思想发展的连续性。胡塞尔现象学的还原以悬置一切假设与先见为中心,使伯林特回归到对于美学学科的本源意义的探索,追寻美学的体验与知觉特征,因而成为他所有审美理论的哲学基础。梅洛-庞蒂的身体现象学直接引领了伯林特美学身体化的转向,使其创立了语境性的身体观及环境体验的语境模式；伯林特也借鉴了梅洛-庞蒂的知觉合作理论,作为他交融美学的中心特征。而杜夫海纳对于感官经验的强调使伯林特认识到体验的重要性,成为他审美理论的体验基础。杜威的实用主义一元论哲学思想对伯林特的影响更是毋容置疑的,人是环境中的参与者的理念推动伯林特提出整体连续性的环境观,因而,杜威的连续性哲学思想将审美、艺术与日常经验相结合,成为伯林特环境美学的又一哲学来源。总之,伯林特借鉴和吸收了现象学方法论和以实践为中心的实用主义的理论精华,最终集中体现在他对审美的感知体验的强调上,并以此为核心建构了自己的审美理论体系。
第二章集中探讨伯林特于20世纪70年代建立起来的审美场理论,挖掘现象学在审美场理论中的运用,探析他的审美体验现象学的形成过程。审美场是一个复杂的动态的审美体验情境,描述了欣赏体验中互相依存的四大要素：艺术对象、感知者、艺术家和表演者,也包含生物的、心理的、技术的、历史的、社会的以及文化的调节因素,这诸多因素共同构成一个体验的“审美交往”的审美情境。审美场理论是伯林特早期的学术成果,也是一种崭新的美学观念,成为他以后审美理论发展的基石。在审美场的体验情境中,伯林特用一种现象学的方法来描述审美体验,通过探讨环境中的三种审美体验模式,阐释了他的环境的现象学美学。他也试图将作为方法的现象学和作为实践的实用主义与美学融合在一起,这几乎改变了通常的美学研究进程,充分体现了他的审美交融的理论观点,不仅应用于审美理论之中,也适用于美学研究方法,可以作为一个普遍的理论来应用。
第三章主要探讨伯林特90年代形成的审美交融理论以及他丰富的艺术美学和环境美学思想。审美无利害性基于传统的二元主义,将美学囿于远距离的、静观的审美欣赏模式,排除了体验中的身体维度和社会维度,从而不恰当地引导了审美欣赏,阻碍了美学的发展。在对审美无利害性进行批判反思的基础上,在现代艺术对于体验的连续性的吁求中,伯林特提出了著名的审美交融观。审美交融描述的是审美体验的特征,是完全的联觉融合,要求欣赏者多感官的全身心的投入。审美交融将感知者和审美对象融为一个知觉的统一体,展示了至少三种相关的特征：连续性、知觉合作与参与性,将对艺术、自然、环境和社会的审美欣赏融为一体,代替了无利害的静观欣赏模式,突破了二百多年来美学作为一门艺术哲学的理论局限,可以说是对美学学科的重铸。在音乐、绘画、舞蹈等艺术多维的审美情境中,伯林特通过清晰地展示审美交融的特征而诠释了他的艺术美学思想。而审美交融的观点在他的环境美学中体现得更为鲜明,成为他的环境观和环境美学的核心概念,因此,在伯林特的理论阐释中,环境成为感知者与审美情境的融合,人与环境成为体验的连续的统一体,环境美学也成为研究环境中的审美体验问题,一切二元论的分离都消融在连续性的体验之中,这就使他的环境美学可以触及环境中的所有不同领域,体现了伯林特美学的广泛性与流动性的特点。
第四章转向对伯林特近来的哲学维度——审美感知力和社会美学的研究。在审美的历史语境中,“美”被认为是静观审美对象时的愉悦感,只有美的艺术和自然才能进入美学的领域。伯林特力图突破这种传统的审美观,认为“美”具有丰富的含义,包含不同形式的多样价值的审美满足感,而“美”的核心意义应该被理解为一种肯定的审美价值,“美”不再是一种审美对象的特征,而更是一种审美情境的品质,这样,“美”就成为语境性的了。“审美”是一种感官体验的模式或能力,审美的力量就在于它独特的感知体验的能力,既包含肯定的也包含否定的审美体验,而且,所有的感知体验中都存在着审美的维度,审美是无处不在的。伯林特对于美与审美的阐释表现了人类世界的审美转变,使审美由过去只关注美的艺术拓展至如今包含艺术、自然、环境及人类社会生活在内的所有领域,使审美成为美学的核心概念。在探求审美知觉和审美体验的过程中,审美感知力的重要性凸显出来,伯林特将审美感知力界定为一种敏锐的富含鉴别力的知觉意识,而现代艺术调动了我们的触觉和运动感觉的审美感知力,使审美知觉超越了传统的视觉和听觉,从而大大拓展了审美感知力的范围,也使伯林特由对环境美学的研究转向对社会美学的探求,试图挖掘人类关系中的审美维度,探析文化、政治与社会理论中的审美观点与审美价值。
第五章从伯林特审美理论的贡献与缺憾及存在的争议着手,以期客观公正地对其审美理论进行评价。伯林特基于体验的审美理论使审美的范围超越了艺术和自然从而包含了日常生活和社会关系等各个领域,这极大地拓展了审美活动的边界和美学研究的范围。与此同时,伯林特将体验作为审美的中心,使美学回归了其词源学的本意,并且提出了审美交融的欣赏模式,用“交融”取代“无利害性”,用“连续性”取代分离,标志着一种新美学的诞生。总之,伯林特试图发展一种关于审美体验的普遍理论,为我们探求美学的发展提供了一种连续性和描述性的方法,因此,他对于美学的贡献不仅仅如他所涉及的宽泛的主题这么简单,也体现在他对于美学这一学科本身所具有的深刻洞察力上以及他对于构建和谐社会和完美世界所付出的努力上。然而,伯林特审美理论中对于审美知觉的强调弱化了情感、想象和知识在审美体验中的重要作用,学界对他的审美交融理论能否作为普遍的审美理论来运用也存在争议,因此,伯林特的审美理论还存在提升的空间。
结语部分探讨伯林特的美学如何远远超越了艺术,阐明他的审美理论突破传统理论的历史必然性,并指出了他的美学思想与审美理论中所存在的主要问题以及他为解决这些问题所作的一些设想。伯林特所揭示的现代艺术连续性与语境性的特征,使艺术可以与自然环境、都市环境以及文化环境融为一体,从而使我们有望生活在一个艺术、自然、环境、文化与社会完美融合的审美世界中,他的美学构想及其探索精神为实现我们审美地生活的目标提供了继续前行的动力,为美学的未来发展指明了方向。
Since eighteenth Century, aesthetics has been regarded as a study to the beauty of art and of nature. Although from the beginning of the twentieth Century, the type of art, the artistic style and art theories have experienced changes, the scope of art has expanded increasingly, nature has undergone radical changes, post modernism has also cleared away the obstacles for the development of aesthetics as an abandon of the traditional theoretical principles, however, traditional aesthetics as the philosophy of art still contains strong effects. From the view of the current development trend, during our effort for the reconstruction of aesthetic theories based on the artistic practice and appreciative experience, the discipline of aesthetics has got little achievements.
In the theoretical dilemma of aesthetics' unable to break through the traditional philosophy of art, American scholar Arnold Berleant goes beyond the limitations of traditional aesthetics in view of the construction of aesthetic engagement. Based on an aesthetic vision of beyond dualism, starting from the angle of aesthetic experience, Berleant establishes an unique system of aesthetic theories centering on aesthetic field, aesthetic engagement and aesthetic sensibility. Thus the mode of aesthetic engagement in appreciative experience replaces Kant's mode of aesthetic contemplation which is a revolution in the field of contemporary aesthetics. Aesthetics therefore transforms from a discipline for the study of the beauty of art and nature to that of aesthetic experience or sensibility which returns it to the original meaning of etymology——"perception by the senses". Hence, aesthetics combines all of the aesthetic situations such as art, nature, environment and society perfectly in an inclusive theory of aesthetic engagement through his interpretation of contextual aesthetics and experiential aesthetics. It may be considered that aesthetic engagement finally helped to shape Berleant's ideal theoretical achievement of a new aesthetics which will become a new turning point in the development history of aesthetics.
Established in the whole theoretical context for the development of the discipline of aesthetics, this paper strives to discuss Berleant's aesthetic theories and aesthetic ideas systematically and comprehensively. Through the investigation and analysis to the forming background, philosophical origin, construction process, meanings and features, application and significance of his aesthetic theories, I will focus on the developing process of Berleant's three aesthetic theories——aesthetic field, aesthetic engagement and aesthetic sensibility from stage of emergence and growth to that of mature and their application in the specific aesthetic situations of art, nature, environment as well as society, and profoundly analyze the characteristics of his aesthetic theories and the connotation of his aesthetic ideas in order to reveal how and to what extent Berleant's aesthetic theories break through the traditional aesthetic shackles and lead a turning to aesthetic engagement, contextuality, continuity and embodiment in aesthetic research and also guide people a macroscopic reflection of aesthetic history and current situations and thus move to an aesthetics beyond art and a humanized aesthetic world.
The paper includes altogether seven parts:the introduction, the main body of five chapters and the conclusion.
Starting from the biographical presentation of Berleant, the introduction involves his life, his academic career, his works and the honors he achieved, and then discusses the development history and the research current status of his aesthetic theories at home and abroad in order to achieve a clear intuitive description, outline his theoretical framework, expound his influence in the philosophical and aesthetic fields of the world, and finally point out the research ideas, research methods, research purposes, research meanings and research innovation of this paper. As a leading figure in contemporary aesthetics especially in the field of environmental aesthetics, Berleant makes every effort to construct his inclusive aesthetic theories within nearly half a century of time and ultimately recasts the aesthetics discipline. This is really worthy of study. Combined with the previous studies of my predecessors and my own understanding and interpretation, I wish to make a comprehensive, objective and systemic research of his aesthetic theories and to reveal its theoretical values and achievements in order that it can make some improvements for the development of aesthetics.
The first chapter discusses the philosophical roots of Berleant's aesthetic theories for tracing back to the theoretical origin and exploring the historical continuity of aesthetics. Husserl's phenomenological reduction centers on suspension of all the assumptions and makes Berleant return to the original meaning of aesthetics in pursuit of aesthetic experience and perception which becomes the philosophical basis of all of his aesthetic theories; Merleau-Ponty's somatic phenomenology directly leads to a turning for Berleant's somatic aesthetics and helps him establish the contextual view of body and the contextual mode of environment experience. Berleant also borrows from Merleau-Ponty the theory of perception integration as center features of his engagement aesthetics; Dufrenne's emphasis on sensory experience makes Berleant aware of the importance of experience and becomes experiential basis of his aesthetic theories; The effect of Dewey's philosophy of pragmatism to Berleant is beyond doubt, and the idea that human becomes participants in the environment makes Berleant put forward the conception of overall continuity of environment. So we can say, the continuity of Dewey's philosophy combines aesthetics, art and everyday experience which becomes another philosophical source of Berleant's environmental aesthetics. In short, Berleant makes up his own system of aesthetic theories by connecting phenomenological method and pragmatism with practice as the center and finally concentrating on the aesthetic perception.
Berleant's theory of aesthetic field formed in the seventies of20th Century will be investigated in chapter two for digging out its application of phenomenology in aesthetic field and for exploring the developing process of his phenomenology of aesthetic experience. The theory of aesthetic field is his early academic achievement and also becomes a cornerstone of his later aesthetic theories. Aesthetic field is a complex dynamic situation of aesthetic experience illustrating the the four elements combined together in appreciative experience:art object, perceiver, artist and performer, containing biological, psychological, technical, historical, social and cultural factors which constitute an aesthetic situation of "aesthetic transaction". Aesthetic field is also a kind of perceptual field and is a comprehensive sensory response to resort to all human senses. This is a brand-new aesthetic idea and is based on empirical mode of aesthetics. Berleant makes a phenomenological description for aesthetic experience and explains his phenomenological aesthetics of environment through three kinds of aesthetic experience modes in the environment. He attempts to blend aesthetics well together with phenomenology as method and pragmatism as practice and this idea nearly changes the general research process of philosophy and fully embodies an idea that his theory of aesthetic engagement not only applies to the aesthetic theory but also to the aesthetics research methods which can be used as an general theory.
The third chapter mainly concerns Berleant's theory of aesthetic engagement formed in90's as well as his rich ideas in art aesthetics and environmental aesthetics. Based on the traditional philosophical dualism, Disinterestedness limits aesthetics in an appreciative mode of distance and contemplation and neglects the physical and social dimensions of experience excessively, which guides the aesthetic appreciation improperly and prevents the development of aesthetics. On basis of the criticism of disinterestedness and in the appeal of modern art for the continuity of experience as well as in Berleant's effective interpretation for the various categories of art perception, he puts forward the famous participatory concept of aesthetic engagement between appreciator and art object. Aesthetic engagement is to describe the characteristics of the aesthetic experience and is a kind of experience of appreciative engagement with multisensory involvement of the appreciator. Blending the perceiver and aesthetic object into one unity, aesthetic engagement exhibits at least three related characteristics:continuity, perceptual integration and participation. It combines the appreciation of art, nature, environment and society together and replaces disinterested appreciative mode of contemplation and breaks through the theoretical limitations of aesthetics as an art philosophy for200years and can be regarded as a recasting to the aesthetics discipline. In the various aesthetic situations of art such as music, painting and dance etc, Berleant explains his ideology on art aesthetics through a clear exhibition of the features of aesthetic engagement which is a more effective embodiment in his environmental aesthetics and becomes the core concept of his view of environment and environmental aesthetics. And thus environment comes to be a fusion of perceiver and environmental situations, man and environment be a continuous unity of experience, environmental aesthetics be a study of aesthetic experience in environment, thus, all the separations of dualism melt into the continuity of experience, so that Berleant's environmental aesthetics can be elaborated in all different areas in the environment and embodies the characteristics of universality and fluidity of Berleant's aesthetics.
Chapter four turns to the study of sensibility and social aesthetics Berleant recently concerns. In the aesthetic context of history, the beauty of art and nature is higher than practical, pragmatic and functional art so that only the beauty of art and nature could enter into the field of aesthetics. Berleant tries to breakthrough the traditional aesthetic view and regards "beauty" as positive aesthetic values and then the concept of "beauty" changes from the feature of aesthetic objects to the quality of aesthetic situations. There is no ontology of beauty but just epistemology of beauty. Because there is an aesthetic dimension in all perceptual experience which is positive as well as negative, so, the aesthetic is omnipresent. Berleant expands the meanings of beauty and the aesthetic by this re-interpretation of them and extends the aesthetic from past only paying attention to beauty of art to now all areas including art, nature, environment and human social life and makes the aesthetic become the core concept of aesthetics. In the process of exploring aesthetic perception and aesthetic experience, the importance of sensibility becomes prominent. Berleant defines sensibility as an acute perceptual consciousness and modern art stimulates our sensibility of tactile and kinaesthesis, which transcends the traditional auditory and visual perception and greatly expands the scope of sensibility and also encourages Berleant make a change from a study of environmental aesthetics to that of the social aesthetics by trying to excavate the aesthetic dimensions in human relations and explore the aesthetic ideas and aesthetic values in cultural, political and social theories.
The fifth chapter starts from an analysis of Berleant's contribution and shortcomings of his aesthetic theories in order to make an objective and fair evaluation of his aesthetic theories. Berleant's aesthetic theories based on experience make aesthetic realm beyond art and nature to include all areas of daily life and social relations, which greatly expands the boundary of aesthetic activities and the scope of aesthetic study. At the same time, Berleant places experience in the center of the aesthetic which makes aesthetics a discipline of aesthetic experience and his aesthetics of engagement marks the birth of a new aesthetics with "engagement" as a replacement of "disinterestedness" and with "continuity" as a replacement of separation. In sum, Berleant pursues a general theory of aesthetic experience, but neither deny the diversity of individual experience which provides a continuous aesthetic vision for our exploration of the development of aesthetics theories. However, Berleant's emphasis on aesthetic perception in his theories weakens the important role imagination, emotion and knowledge played in aesthetic experience and there still exists a question whether his theory of aesthetic engagement could be improved to be a general theory, so his aesthetic theories still have a development space to be promoted.
The conclusion part inquires of how far Berleant's aesthetics goes beyond the arts and clarifies the historical necessity of his aesthetic theories as a breakthrough of the traditional theory and also points out the main problems in his aesthetic ideas and aesthetic theories and even his assumptions for solving these problems. The continuous and contextual features of modern art Berleant revealed makes it possible for art engages into natural, urban and cultural environment so that we may live in an artistic, natural, environmental, cultural and social unity of aesthetic world. The aesthetic conception of Berleant and his spirit of exploration provide for us the powers of moving forward for the realization of our aesthetic life goal and hence lead to a new direction for the future development of aesthetics.
引文
① 伯林特将‘'aesthetic experience"的特征描述为即刻的、直接的、真实的、非认知的等等,强调的是身体感官当下的直接的感知活动,并没有经过认知的反思过程,因此,我认为,"experience"译为“体验”比“经验”更能体现伯林特的本意,所以在本文中,我专门将"aesthetic experience"译为“审美体验”。而对于杜夫海纳和杜威的审美理论,我还是依照国内学者普遍认同的翻译方式,将"experience"译为“经验”,如杜夫海纳的《审美经验现象学》以及杜威的《艺术即经验》。
① ‘审美交融”是我引用了山东大学程相占的译法,国内学者对此有几种不同的翻译版本,如“审美交融”、“审美参与”、“审美介入”、“审美投入”等。其实,伯林特在不同的语境中对这几个术语分别使用了不同的英语词汇来表达,我也根据语境将它们译为不同的汉语,比如我将"aesthetic engagement"译为“审美交融”,"aesthetic participation"译为“审美参与”、‘'aesthetic involvement"译为“审美介入”,"aesthetic immersion"译为“审美投入”。与此一致,我将"aesthetics of engagement"译为“交融美学”,"aesthetics of participation"译为“参与美学”,而"aesthetics of involvement"译为“介入美学”。“参与美学”和“介入美学”是伯林特最先使用的术语,在他最后几本书中统一发展为“交融美学”,目前国外学者一般也以"aesthetics of engagement"(交融美学)或"aesthetic engagement"(审美交融)来表示伯林特所构建的新美学和审美理论。
① Mara Miller. The Garden as an Art. Albany:State University of New York Press,1993.米勒在其《作为艺术的花园》中探讨花园如何成为一种伟大的艺术,这拓展了艺术定义的范围,挑战了传统的审美理论。
② Marit K. Munson. The Archaeology of Art in the American Southwest. Plymouth:AltaMira Press,2011.
① David E. W. Fenner. Art in Context:Understanding Aesthetic Value. Athens, Ohio:Swallow Press/Ohio University Press,2008, p.141.
② Noel G. Charlton. Understanding Gregory Bateson:Mind, Beauty, and the Sacred Earth. Albany:the State University of New York Press,2008, p.153.
① Allen Carlson. Nature and Landscape:An Introduction to Environmental Aesthetics. New York:Columbia University Press,2009, p.31.
① Emily Brady. Aesthetics of the Natural Environment. Edinburgh:Edinburgh University Press Ltd.,2003, p.69.
① Katya Mandoki. Everyday Aesthetics:Prosaics the Play of Culture and Social Identities. Aldershot:Ashgate Publishing Limited,2007, p.21.
① 刘悦笛：《从“审美介入”到“介入美学”——环境美学家阿诺德·伯林特访谈录》,《文艺争鸣》,2010年第21期,第28页。
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.11.
① Hans Rainer Sepp, Lester E. Embree, eds. Handbook of Phenomenological Aesthetics. Ontario:Broadview Press, 2004, p.85.
② Sondra Horton Fraleigh. Dance and the Lived Body:A Descriptive Aesthetics. Pittsburgh:University of Pittsburgh Press,1987, p.xviii.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.21.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.20.
② Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.85.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.22.
② Edmund Husserl. Cartesian Meditations. The Hague:Nijhoff,1960, pp.21-33.
③ Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.61.
④ Noel G. Charlton. Understanding Gregory Bateson:Mind, Beauty, and the Sacred Earth. Albany:the State University of New York Press,2008, p.154.
① 莫里斯·梅洛-庞蒂：《知觉的首要性与其他文章》,西北大学出版社,1964年版,第42页。
② Maurice Merleau-Ponty. The Visible and the Invisible. Evanston:Northwestern University Press,1968, p.250.
③ Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.91.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.92.
② M.Merleau-Ponty. "Eye and Mind", in The Primacy of Perception. Evanston:Northwestern University Press, 1964, p.178.
③ Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.28.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.7.
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第3页。
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.159.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.39.
① John Dewey. Art as Experience. New York:Minton, Balch&Co.,1934, p.10.
② Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.164.
③ Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.161.
④ Thomas Munro. Review:The Aesthetic Field:A Phenomenology of Aesthetic Experience by Arnold Berleant. Philosophy and Phenomenological Research,1971,32(2), p.279.
① John Dewey. Art as Experience. New York:Minton, Balch&Co.,1934, p.214.
② John Dewey. Art as Experience. New York:Minton, Balch&Co.,1934, p.139.
③ John Dewey. Art as Experience. New York:Minton, Balch&Co.,1934, p.162.
④ John Dewey. Art as Experience. New York:Minton, Balch&Co.,1934, p.249.
⑤ John Dewey. Art as Experience. New York:Minton, Balch&Co.,1934, p.46.
① [美]史蒂文·布拉萨：《景观美学》,彭锋译,北京大学出版社,2008年版,第58页。
② John Dewey. The Postulate of Immediate Empiricism. The Influence of Darwin on Philosophy. New York:Peter Smith,1951,p.227.
③ Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.167.
④ Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.165.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield, Ill.:C. C. Thomas, 1970, p.46.
① Thomas Munro. Review:The Aesthetic Field:A Phenomenology of Aesthetic Experience by Arnold Berleant. Philosophy and Phenomenological Research,1971,32(2), p.278.
② Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.24.
③ Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.25.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.28.
② Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.31.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas,1970, p.37.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.48.
② Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.6.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield, Ill.:C. C. Thomas, 1970, p.7.
② Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield, Ill.:C. C. Thomas, 1970, p.10.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.17.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.18.
① D. W. Prall. Aesthetic Judgment. New York:T. W. Crowell,1929, p.28。
② Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.6.
③ Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.7.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.47.
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.49.
② Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004, p.67.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.51.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.73.
② Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.165.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.90.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.6.
② Arnold Berleant. Aesthetics and the Contemporary Arts. The Journal of Aesthetics and Art Criticism,1970, p.165.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.48.
② Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.8.
① Maurice Merleau-Ponty. The Primacy of Perception. Evanston:Northwestern University press,1964. p.16.
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第12页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第12页。
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.22.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.23.
③ Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010. p.24.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.25.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.26.
① Arnold Berleant The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.188.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.29.
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, P.158.
① [加]艾伦·卡尔松：《自然与景观》,陈李波译,湖南科学技术出版社,2006年版,第7页。
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.7.
③ Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.41.
① 刘悦笛：《从“审美介入”到“介入美学”——环境美学家阿诺德·伯林特访谈录》,《文艺争鸣》,2010年第21期,第32页。
② Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.41.
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.45.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.87.
② Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.120.
① Anna-Teresa Tymieniecka.ed. Phenomenology and Existentialism in the Twentieth Century:Book II. London: Springer,2009. p.383.
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第3页。
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.12.
② Jerrold Levinson, ed. The Oxford Handbook of Aesthetics. New York:Oxford University Press,2002, p.118.
① Samantha Clark. Contemporary Art and Environmental Aesthetics. Environmental Values,2010, p.356.
② Arnold Berleant Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.168.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.98.
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第109页。
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.153.
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.158.
② Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.158.
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.70.
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.189.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.66.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.74.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.79.
① Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.29.
② Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.29.
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.10.
② Arnold Berleant The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.12.
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.34.
② Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.132.
③ Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.11.
① Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.24.
② Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.13.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.14.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.117.
① Samantha Clark. Contemporary Art and Environmental Aesthetics. Environmental Values,2010, p.352.
① 曾繁仁：《西方20世纪环境美学述评》,《社会科学战线》,2009年第2期,第235页。
① Yuriko Saito. Future Directions for Environmental Aesthetics. Environmental Values,2010, p.374.
② Renee Conroy. Engaging Berleant:A Critical Look at Aesthetics and Environment:Variations on a Theme. Ethics, Place & Environment:A Journal of Philosophy & Geography,2007, p.217.
① Renee Conroy. Engaging Berleant:A Critical Look at Aesthetics and Environment:Variations on a Theme. Ethics, Place & Environment:A Journal of Philosophy & Geography,2007, p.218.
② Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.22.
③ Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.40.
① Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.32.
① Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.108.
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.123.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.117.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, pp.126-127.
③ Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.127.
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.85.
② Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.91.
① Holmes Rolston III. Philosophy Gone Wild. Buffalo. NY:Prometheus,1989, pp.118-143.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.125.
① The Oxford English Dictionary. Oxford:Clarendon,1933, p.54.
① Compact Edition of the Oxford English Dictionary. Vol. Ⅲ. A Supplement to the Oxford English Dictionary Oxford:Clarendon,1987. p.587.
② Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.37.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.121.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.123.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.27.
② E. Relph. Place and Placelessness. London:Pion,1976, pp.42-43.
③ Yi-Fu Tuan. Place:an Experiential Perspective. The Geographical Review,1975, p.151.
④ Sarah Menin, ed. Constructing Place:Mind and Matter. New York:Routledge,2003, p.8.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.84.
② Yi-Fu Tuan. Topophilia, A Study of Environmental Perception, Attitudes, and Values. Englewood Cliffs: Prentice-Hall,1974, p.138.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.53.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.139.
① Trjo Sepanmaa. The beauty of environment:A general model for environmental aesthetics. Helsinki:Painomeklari Ky. Scandiprint Oy,1986, p.21.
② 刘悦笛：《从“审美介入”到“介入美学”——环境美学家阿诺德·伯林特访谈录》,《文艺争鸣》,2010年第21期,第32页。
① Robert E. Innis. Review:Sensibility and sense:The Aesthetic Transformation of the Human World by Arnold Berleant. The Pluralist,2011, (6)2, p.65.
① Katya Mandoki. Everyday Aesthetics:Prosaic the Play of Culture and Social Identities. Aldershot:Ashgate Publishing Limited,2007, p.83.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.4.
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.207.
② Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.208.
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.205.
① Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004, p.74.
① Arnold Berleant. A Response to Conroy and Carlson. British Journal of Aesthetics,2006, p.237.
② Arnold Berleant. A Response to Conroy and Carlson. British Journal of Aesthetics,2006, p.238.
① C. W. Prall. Aesthetic Judgment. New York:Crowell,1929, p.19.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.86.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.30.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.46.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.70.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, pp.44-45.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.47.
① Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004, p94.
② Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004, p95.
③ Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004, p96.
① Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts. Aldershot:Ashgate,2004, p97.
② Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts. Aldershot:Ashgate,2004, p99.
③ Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts. Aldershot:Ashgate,2004, p100.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.53.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.58.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, pp.58-59.
① Yuriko Saito. Future Directions for Environmental Aesthetics. Environmental Values,2010, p.376.
① Friedrich Schiller, E.M Wilkinson and L. A.Willoughby, eds. and trans. On the Aesthetic Education of Man. Oxford:Clarendon,1967, p.125.
② Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.149.
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第181页。
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.95.
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第134页。
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第136页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第138页。
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第140页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第140页。
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第141页。
③ [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第157页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第160页。
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第161页。
③ [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第163页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第165页。
② Arnold Berleant. A Response to Conroy and Carlson. British Journal of Aesthetics,2006, p.238.
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第122页。
② Pauline von Bonsdorff. The Human Habitat Jyvaskyla, Finland:Gummerus Kirjapaino Oy,1998, p.133.
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第125页。
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第125页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第128页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第132页。
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The. Human World. Charlottesville:
Imprint Academic,2010, p.88. ② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.88.
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第185页。
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第188页。
① Pauline Von Bonsdorff. Review on Sensibility and Sense:The Aesthetic Transformation of the Human World. By Arnold Berleant. Environmental Values,2010, p.407.
② Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts. Aldershot:Ashgate,2004, p112.
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.39.
② 程相占：《哈佛访学对话录》,商务印书馆,2011年版,第56页。
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World Charlottesville: Imprint Academic,2010, p.72.
② Allen Carlson. Nature and Landscape:An Introduction to Environmental Aesthetics. New York:Columbia University Press,2009, p.30.
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.xii.
② [加]艾伦·卡尔松：《自然与景观》,陈李波译,湖南科学技术出版社,2006年版,第44页。
③ Allen Carlson. Critical Notice:Aesthetics and Environment. British Journal of Aesthetics,2006, p.417.
④ Allen Carlson. Critical Notice:Aesthetics and Environment. British Journal of Aesthetics,2006, p.417.
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.120.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.6.
② Marit K. Munson. The Archaeology of Art in the American Southwest. Plymouth:AltaMira Press,2011, p.123.
③ Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.132.
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p144.
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南人民出版社,2013年版,第165页。
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.26.
① Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.5.
② Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p149.
① Hans Rainer Sepp, Lester E. Embree, eds. Handbook of Phenomenological Aesthetics. Ontario:Broadview Press, 2004, p89.
② Arnold Berleant. A Response to Conroy and Carlson. British Journal of Aesthetics,2006, p.238.
① Allen Carlson. Critical Notice:Aesthetics and Environment. British Journal of Aesthetics,2006, p.421.
② Malcolm Budd. The Aesthetic Appreciation of Nature. Oxford:Oxford University Press,2002, p.111.
③ Stan Godlovitch. Review:The Aesthetics of Environment by Arnold Berleant. The Journal of Aesthetics and Art Criticism,1994, (52)4, P.479.
① Andrew Light, Jonathan Smith, eds. The Aesthetics of Everyday Life. New York:Columbia University Press, 2005, p.5.
② Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004, p.85.
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.47.
① [美]阿诺德·伯林特：《美学再思考》,肖双荣译,武汉大学出版社,2010年版,第22页。
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.44.
1. Arnold Berleant.The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas,1970.
2. Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991.
3. Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992.
4. Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997.
5. Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004.
6. Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot: Ashgate,2005.
7. Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville:Imprint Academic,2010.
8. Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot: Ashgate,2012.
1. Arnold Berleant, eds., The Ethical Factor in Business Decisions. Brookville, N.Y.: C. W. Post Center of Long Island University,1982.
2. Arnold Berleant, eds., Environment and the Arts:Perspectives on Environmental Aesthetics. Aldershot:Ashgate,2002.
3. Allen Carlson and Arnold Berleant, eds., The Aesthetics of Natural Environments. Peterborough,Ontario:Broadview Press Ltd,2004.
4. Arnold Berleant and Allen Carlson, eds., The Aesthetics of Human Environments. Peterborough, Ontario:Broadview Press Ltd,2007.
1. Alfred Biese. The Development of the Feeling for Nature. London:George Routledge and Sons, Ltd.,1905.
2. Allen Carlson and Sheila Lintott, eds., Nature, Aesthetics, and Environmentalism: From Beauty to Duty. New York:Columbia University Press,2008.
3. Allen Carlson. Nature and Landscape:An Introduction to Environmental Aesthetics. New York:Columbia University Press,2009.
4. Allen Carlson. Aesthetics and the environment:the appreciation of nature, art and architecture. London and New York:Routledge,2000.
5. Andrew Light, Jonathan Smith. The Aesthetics of Everyday Life. New York: Columbia University Press,2005.
6. Anna-Teresa Tymieniecka,ed. Phenomenology and Existentialism in the Twentieth Century:Book Ⅱ. London:Springer,2009.
7. Berys Gaut and Dominic Mclver Lopes, eds., The Routledge Companion to Aesthetics. London:Routledge,2005.
8. Birgit Meyer, ed. Aesthetic Formations:Media, Religion and the Senses. New York:Palgrave Macmillan,2009.
9. Carleton B. Christensen. Self and World-From Analytic Philosophy to Phenomenology. Berlin New York:Walter de Gruyter,2008.
10. Crispin Sartwell. Six Names of Beauty. New York and London:Routledge,2004.
11. Dabney Townsend. Historical Dictionary of Aesthetic. Lanham, Maryland-Toronto-Oxford: The Scarecrow Press, Inc.,2006.
12. David E. W. Fenner. Art in Context:Understanding Aesthetic Value. Athens, Ohio: Swallow Press/Ohio University Press,2008.
13. David E. Cooper, ed., A Companion to Aesthetics. Oxford:Blackwell,1922.
14. David E. Cooper. A Philosophy of Gardens. New York:Oxford University Press Inc.,2006.
15. Donald M. Borchert, ed., The Encyclopedia of Philosophy,2nd ed. New York: Macmillan,2006.
16. Edmund Husserl. Trans, Dorion Cairns. Cartesian Meditations. Hague:Martinus Nijhoff Publishers,1960.
17. Edward Craig, ed., Routledge Encyclopedia of Philosophy Online. London: Routledge,2002.
18. Edward N. Zalta, ed., The Stanford Encyclopedia of Philosophy. Stanford, Calif.: Metaphysics Research Lab,2007.
19. Edward Winters. Aesthetics and Architecture. London and New York: Continuum International Publishing Group,2007.
20. Emily Brady. Aesthetics of the Natural Environment. Edinburgh:Edinburgh University Press Ltd.,2003.
21. E. Relph. Place and Placelessness. London:Pion,1976.
22. Friedrich Schiller. E.M Wilkinson and L. A.Willoughby, ed. And trans. On the Aesthetic Education of Man. Oxford:Clarendon,1967, p125.
23. George Dickie. Art and the Aesthetic:An Institutional Analysis. Ithaca and London:Cornell University Press,1974.
24. George Dickie. The Art Circle:A Theory of Art. New York:Haven Publications, 1984.
25. George Hagman. Aesthetic Experience. New York:Amsterdam,2005.
26. Glenn Parsons and Allen Carlson. Functional Beauty. Oxford:Clarendon Press, 2008.
27. Hans Rainer Sepp, Lester E. Embree, eds., Handbook of Phenomenological Aesthetics. Ontario:Broadview Press,2004.
28. Holmes Rolston III, Philosophy Gone Wild. Buffalo, NY:Prometheus,1989.
29. Immanuel Kant. Trans, J. M. D. Meiklejohn. The Critique of Pure Reason. London:Mdcccly,1855.
30. Jack L. Nasar, eds., Environmental Aesthetics:Theory, Research, and Application. New York:Cambridge University Press,1988.
31. J. Douglas Porteous. Environmental Aesthetics:Ideas, Politics and Planning. London:Routledge,1996.
32. Martin Heidegger. Trans, Tracy Colony. Phenomenology of Intuition and Expression. London:Continuum,2010.
33. JEROME A. POPP. Evolution's First Philosopher:John Dewey and the Continuity of Nature. Albany:State University of New York Press,2007.
34. Jerrold Levinson, ed., The Oxford Handbook of Aesthetics. New York:Oxford University Press,2002.
35. James J. Gibson, The Perception of the Visual World. Boston:Houghton, Mifflin, 1950.
36. James J. Gibson, The Ecological Approach to Visual Perception. Boston: Houghton Mifflin,1979.
37. John Dewey. Art as Experience. New York:G.P. Putnam's Sons,1934.
38. John Dewey. Experience and Nature. London:George Allen and Unwin, LTD.,1929.
39. John O'Neill, Alan Holland and Andrew Light. Environmental Values. London:Continuum,2010.
40. John R Shook, eds., Dictionary of Modern American Philosophers. London and New York:Routledge,2008.
41. Katya Mandoki. Everyday Aesthetics:Prosaics the Play of Culture and Social Identities. Aldershot:Ashgate Publishing Limited,2007.
42. Malcolm Budd. The Aesthetics Appreciation of Nature. Oxford:Oxford University Press,2002.
43. Marit K. Munson. The Archaeology of Art in the American Southwest. Plymouth: AltaMira Press,2011.
44. Mara Miller. The Garden as an Art. Albany:State University ofNew York Press,1993.
45. Maurice Merleau-Ponty. Alphonso Lingis, trans. The Visible and the Invisible. Evanston:Northwestern University Press,1968.
46. M.Merleau-Ponty, "Eye and Mind ", in The Primacy of Perception. Evanston: Northwestern University Press,1964
47. M. C. Beardsley. Aesthetics from Classical Greece to the Present, New York:The Macmillan Company,1966.
48. Monroe BeardsleyAesthetics.Problems in the Philosophy of Criticism,2nd ed. Indianapolis:Hackett Publishing Company, Inc.,1981.
49. Noel G. Charlton. Understanding Gregory Bateson:Mind, Beauty, and the Sacred Earth. Albany:the State University of New York Press,2008.
50. Peter Kivy, ed., Blackwell Guide to Aesthetics. Oxford:Blackwell,2003.
51. Peter Kivy. The Seventh Sense. Oxford:Clarendon Press,2003.
52. Robert Paehlke, ed., Conservation and Environmentalism:An Encyclopedia. New York:Garland,1995.
53. Richard Shusterman and Adele Tomlin, eds. Aesthetic Experience. London and New York:Routledge,2008.
54. Ronald W. Hepburn. Wonder'and Other Essays. Edinburgh University Press,1984.
55. Ronald W. Hepburn. The Reach of the Aesthetic:Collected Essays on Art and Nature. Aldershot; Burlington, VT:Ashgate,2001.
56. Salim Kemal and Ivan Gaskell, eds. Landscape, Natural Beauty and the Arts. Cambridge:Cambridge University Press,1993.
57. Sarah Menin,ed., Constructing Place:Mind and Matter. New York:Routledge, 2003.p8
58. Sean Esbjorn-Hargens. Integral Ecology. Boston:Michael Garfield,2009.
59. S. C. Bourassa. The Aesthetics of Landscape. London:Belhaven,1991.
60. Sondra Horton Fraleigh. Dance and the Lived Body:A Descriptive Aesthetics. Pittsburgh:University of Pittsburgh Press,1987.
61. Terry Eagleton. The Ideology of the Aesthetic. Oxford:Blackwell,1990.
62. Timothy Morton. Ecology Without Nature, Rethinking Environmental Aesthetics. Cambridge, Massachusetts:Harvard University Press,2007.
63. Thomas Heyd. Encountering Nature:Toward an Environmental Culture. Aldershot:Ashgate Publishing Limited,2007.
64. Vernon Pratt, Jane Howarth and Emily Brady. Environment and Philosophy. London and New York:Routledge,2000.
65. Yi-Fu Tuan, Topophilia, A Study of Environmental Perception, Attitudes, and Values. Englewood Cliffs:Prentice-Hall,1974.
66. Yrjo Sepanmaa. The Beauty of Environment:A General Model for Environmental Aesthetics. Helsinki:Painomeklari Ky. Scandiprint Oy,1986.
67. Yuriko Saito. Everyday Aesthetics. New York:Oxford University Press,2007.
1. A. D. Nelson. Ethical Relativism and the Study of Political Value. Canadian Journal of Political Science, Vol.11, No.1,1978.
2. Allen Carlson. The Aesthetic Appreciation of Environmental Architecture under Different Conceptions of Environment. Journal of Aesthetic Education,2006.
3. Allen Carlson. Contemporary Environmental Aesthetics and the Requirements of Environmentalism. Environmental Values,2010.
4. Allen Carlson. Environmental Aesthetics and the Dilemma of Aesthetic Education. Journal of Aesthetic Education, Vol.10, No.2,1976.
5. Allen Carlson. Critical Notice:Aesthetics and Environment. British Journal of Aesthetics,2006.
6. Andrew Light. Not Out of the Woods:Preserving the Human in Environmental Architecture. Environmental Values,2005.
7. Anli Ataov. Environmental Aesthetics. Journal of Planning Literature,1998.
8. Arthur E. Stamps III. Demographic Effects in Environmental Aesthetics:A Meta-Analysis. Journal of Planning Literature,1999.
9. Arto Haapala. Book Review on The Aesthetics of Natural Environments. Broadview Press.2004.
10. Cheryl Foster. The Narrative and the Ambient in Environmental Aesthetics. The Journal of Aesthetics and Art Criticism, Vol.56, No.2,1998.
11. David E.W. Fenner. Aesthetic Appreciation in the Art world and in the Natural World. Environmental Values,2003.
12. Dawn Hill and Terry C. Daneil. Foundations for an Ecological Aesthetic:Can Information Alter Landscape Preferences! Society and Natural Resources,2008.
13. Douglas Porteous. Approaches to Environmental Aesthetics. Journal of Environmental Psychology,1982.
14. Elvira Panaiotidi. What Is Music? Aesthetic Experience versus Musical Practice. Philosophy of Music Education Review, Vol.11, No.1,2003.
15. Emily Brady. Don't Eat the Daisies:Disinterestedness and the Situated Aesthetic. Environmental Values,1998.
16. Yi-Fu Tuan. Place:An Experiential Perspective. Geographical Review,1975.
17. Glenn Parsons. Freedom and Objectivity in the Aesthetic Appreciation of Nature. British Journal of Aesthetics, Vol.46, No.1, January 2006.
18. Heta Kauppinen. Environmental Aesthetics and Art Education. Art Education, Vol. 43, No.4,1990.
19. Irene Gammel. Embodied Landscape Aesthetics in Anne of Green Gables. The Lion and the Unicorn, Volume 34, Number 2, April 2010.
20. Isis Brook. Wildness in the English Garden Tradition. Ethics & the Environment, 2008.
21. Isis Brook. Ronald Hepburn and the Humanizing of Environmental Aesthetics. Environmental Values,2010.
22. Isis Brook. Book Review on Sensibility and Sense:The Aesthetic Transformation of the Human World. Book Review,2010.
23. Jason Simus. Disturbing Nature's Beauty:Environmental Aesthetics in a New Ecological Paradigm. American Society for Aesthetics Graduate E-journal 2:2 Spring/Summer 2010.
24. Jay Appleton. Nature as Honorary Art. Environmental Values 7,1998..
25. Jonathan Maskit.'Line of Wreckage':Towards a Postindustrial Environmental Aesthetics. Ethics, Place & Environment:A Journal of Philosophy & Geography,2007.
26. Jonathan Parker. A Kantian Critique of Positive Aesthetics of Nature. American Society for Aesthetics Graduate E-journal 2:2 Spring/Summer 2010.
27. Katherine W. Robinson & Kevin C. Elliott. Environmental Aesthetics and Public Environmental Philosophy. Ethics, Policy and Environment,Vol.14, No.2,2011,
28. Marianne O'Brien. The Aesthetic Significance of Nature's Otherness. Environmental Values,2006.
29. Matthew Turner. Classical Chinese Landscape Painting and the Aesthetic Appreciation A. D. Nelson of Nature. The Journal of Aesthetic Education,2009.
30. Ossi Naukkarinen. Ambients, Houses, and Other Popular Environments: Aesthetics of Popular Culture as Environmental Aesthetics. Journal of American and Comparative Cultures.
31. Pauline Von Bonsdorff. Book Review on Sensibility and Sense:The Aesthetic Transformation of the Human World. Environmental Values,2010.
32. Ricardo Garci'a-Mira and J. Eulogio Real. Environmental perception and cognitive maps. International Journal of Psychology,2005.
33. Robert P. McIntosh. Ecology Without Nature, Rethinking Environmental Aesthetics. The American Midland Naturalist,2008.
34. Russ Parsons. Conflict Between Ecological Sustainability and Environmental Aesthetics:Conundrum, Cantid or Curiosity. Landscape and Urban Planning, 1995.
35. Russ Parsons Terry C. Daniel. Good looking:In Defense of Scenic Landscape Aesthetics. Landscape and Urban Planning,2002.
36. Samantha Clark. Contemporary Art and Environmental Aesthetics. Environmental Values,2010.
37. Sheldrake, Philip. Human Identity and the Particularity of Place. Spiritus:A Journal of Christian Spirituality, Volume 1, Number 1,2001.
38. Sheila Lintott. Feminist Aesthetics and the Neglect of Natural Beauty. Environmental Values,2010..
39. Stan Godlovitch. Some Theoretical Aspects of Environmental Aesthetics. Journal of Aesthetic Education, Vol.32, No.4,1998.
40. Thomas Munro. Review.The Aesthetic Field:A Phenomenology of Aesthetic Experience by Arnold Berleant. Philosophy and Phenomenological Research, 1971,32(2).
41.Warwick Mules. Open country:Towards a material environmental aesthetics. Continuum:Journal of Media & Cultural Studies,2008,20 (2).
42. Yrjo Sepanmaa. From Theoretical to Applied Environmental Aesthetics:Academic Aesthetics Meets Real-World Demands. Environmental Values,2010.
43. Yuriko Saito. Everyday Aesthetics. Philosophy and Literature,2001.
44. Yuriko Saito. Future Directions for Environmental Aesthetics. Environmental Values,2010.
1、[美]阿诺德·伯林特：《环境美学》,张敏、周雨译,湖南科学技术出版社,2006年版。
2、[美]阿诺德·伯林特：《生活在景观中——走向一种环境美学》,陈盼译,湖南科学技术出版社,2006年版。
3、[美]阿诺德·伯林特：《环境与艺术：环境美学的多维视角》,刘悦笛等译,重庆出版社,2007年版。
4、[美]阿诺德·伯林特：《艺术与介入》,李媛媛译,商务印书馆,2013年版。
5、[美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版。
6、[加拿大]艾伦·卡尔松：《环境美学》,杨平译,四川人民出版社,2006年版。
7、[加拿大]艾伦·卡尔松：《自然与景观》,陈李波译,湖南科学技术出版社,2006年版。
8、[德]埃德蒙德·胡塞尔：《生活世界现象学》,倪良康、张廷国译,上海译文出版社,2005年版。
9、[德]埃德蒙德·胡塞尔：《笛卡尔沉思与巴黎讲演》,张宪译,人民出版社,2008年版。
10、[德]马丁·海德格尔：《存在与时间》,陈嘉映、王庆节译,生活·读书·新知三联书店,2006年版。
11、[德]马丁·海德格尔：《形而上学导论》,熊伟、王庆节译,商务印书馆,1996年版。
12、[法]莫里斯·梅洛-庞蒂：《知觉现象学》,姜志辉译,商务印书馆,2005年版。
13、[法]莫里斯·梅洛-庞蒂：《眼与心》,杨大春译,商务印书馆,2007年版。
14、[法]莫里斯·梅洛-庞蒂：《可见的与不可见的》,罗国祥译,商务印书馆,2008年版。
15、[美]霍尔姆斯·罗尔斯顿：《哲学走向荒野》,刘耳、叶平译,吉林人民出版社,2000年版。
16、[美]霍尔姆斯·罗尔斯顿：《环境伦理学》,杨通进译,中国社会科学出版社,2000年版。
17、[芬]约·瑟帕玛：《环境之美》,武小西、张宜译,湖南科学技术出版社,2006年版。
18、[英]罗杰·斯克鲁顿：《建筑美学》,刘先觉译,中国建筑工业出版社,2003年版。
19、[美]林奇：《城市意象》,方益萍等译,华夏出版社,2001年版。
20、[美]理查德·舒斯特曼：《实用主义美学》,彭锋译,商务印书馆,2002年版。
21、[美]理查德·舒斯特曼：《生活即审美——审美经验和生活艺术》,北京大学出版社,2007年版。
22、[美]理查德·舒斯特曼：《身体意识与身体美学》,程相占译,商务印书馆,2011年版。
23、[美]约翰·杜威：《艺术即经验》,高建平译,商务印书馆,2010年版。
24、[法]让-马里·舍费尔：《现代艺术》,生安锋、宋丽丽译,商务印书馆,2012年版。
25、[美]埃伦·迪萨纳亚克：《审美的人》,户晓辉译,商务印书馆,2005年版。
26、[美]诺埃尔·卡罗尔：《超越美学》,李媛媛译,商务印书馆,2006年版。
27、[法]米歇尔·柯南：《穿越岩石景观——贝尔纳·拉絮斯的景观言说方式》,赵红梅、李悦盈译,湖南科学技术出版社,2006年版。
28、[加]卡菲·凯丽：《艺术与生存——帕特丽夏·约翰松的环境工程》,陈国雄译,湖南科学技术出版社,2008年版。
29、[美]史蒂文·布拉萨：《景观美学》,彭锋译,北京大学出版社,2008年版。
30、[美]蕾切尔·卡森：《寂静的春天》,吕瑞兰、李长生译,上海译文出版社,2010年版。
31、[法]米盖尔·杜夫海纳：《审美经验现象学》,文化艺术出版社,1992年版。
32、[法]米盖尔·杜夫海纳：《美学与哲学》,孙菲译,中国社会科学出版社,1985年版。
33、[德]鲍姆加登：《美学》,简明、王旭晓译,文化艺术出版社,1987年版。
34、[美]奥尔多·利奥波德：《沙乡的沉思》,侯文惠译,经济科学出版社,1992年版。
35、[美]奥尔多·利奥波德：《沙乡年鉴》,侯文惠译,吉林人民出版社,1997年版。
36、[德]沃尔夫冈·韦尔施：《重构美学》,陆扬、张岩冰译,上海译文出版社,2002年版。
37、[德]康德：《判断力批判》,邓晓芒译,人民出版社,2002年版。
38、[德]黑格尔：《美学》,朱光潜译,商务印书馆,1979年版。
39、[德]席勒：《审美教育书简》,冯至、范大灿译,北京大学出版社,1985年版。
40、[美]彼得·伯格,托马斯·卢克曼：《现实的社会构建》,汪涌译,北京大学出版社,2009年版。
41、[法]让-弗朗索瓦-利奥塔尔：《后现代状态：关于知识的报告》,车槿山译,南京大学出版社,2011年版。
42、[美]鲁道夫·阿恩海姆：《艺术与视知觉》,滕守尧、朱疆源译,四川人民出版社,1998年版。
43、[美]鲁道夫·阿恩海姆：《建筑形式的视觉动力》,中国建筑工业出版社,2006年版。
44、[美]肯特·C·布鲁姆,查尔斯·W·摩尔：《身体记忆与建筑：建筑设计的基本原则和基本原理》,成朝晖译,中国美术学院出版社,2008年版。
45、[德]库尔特·莱温：《拓扑心理学原理》,竺培梁译,北京大学出版社,2001年版。
46、[英]特里·伊格尔顿：《审美意识形态》,王杰等译,广西师范大学出版社,2001年版。
47、陆扬：《日常生活审美化批判》,复旦大学出版社,2012年版。
48、曾繁仁：《生态美学导论》,商务印书馆,2010年版。
49、陈炎：《中国审美文化史》,山东画报出版社,2007年版。
50、彭锋：《完美的自然——当代环境美学的哲学基础》,北京大学出版社,2005年版。
51、赵秀福：《杜威实用主义美学思想研究》,齐鲁书社,2006年版。
52、程相占：《中国环境美学思想研究》,河南人民出版社,2009年版。
53、杨平：《环境美学的谱系》,南京出版社,2007年版。
54、陈望衡：《环境美学》,武汉大学出版社,2007年版。
55、童强：《空间哲学》,北京大学出版社,2011年版。
1、[美]阿诺德·伯林特：《美学的交融和城市的环境》,《城市资源》,第1卷,1984年第4期。
2、[美]阿诺德·伯林特：《城市生态学的审美范型》,《第欧根尼》,1987年第2期。
3、[美]阿诺德·伯林特：《培植一种城市美学》,《第欧根尼》,1987年第2期。
4、[美]阿诺德·伯林特：《环境：向美学的挑战》,《江西社会科学》,2004年第5期。
5、[美]阿诺德·伯林特：《美学再思考》,《湖南人文科技学院学报》,2006年第5期。
6、[美]阿诺德.伯林特、程相占：《审美生态学和城市环境》,《学术月刊》,2008年第3期。
7、程相占、[美]阿诺德·伯林特：《从环境美学到城市美学》,《学术研究》,2009年第5期。
8、[美]阿诺德·伯林特：《美学中的体验和理论》,《文艺研究》,1992年第1期。
9、[美]阿诺德·伯林特：《环境美学的发展及其新近问题》,《世界哲学》,2008年第3期。
10、张敏：《阿诺德·伯林特的环境美学建构》,《文艺研究》,2004年第4期。
11、彭峰：《环境美学的审美模式分析》,《郑州大学学报》,2006年第6期。
12、聂春华：《社会主义新农村景观建设的审美范式——从阿诺德·伯林特出发》,《河南社会科学》,2007年第4期。
13、吴笑韬：《结合美学对审美无功利命题的批判浅析》,《美与时代》,2007年第12期。
14、刘清平、王希：《环境审美：科学认知还是情感参与?——从两种环境审美观看中西哲学自然观的整合》,《郑州大学学报》(哲学社会科学版),2007年第5期。
15、邓军海：《连续性形而上学与阿德诺·伯林特的环境美学思想》,《郑州大学学报》(哲学社会科学版),2008年第1期。
16、刘新叶：《美学研究的重要拓展——评阿诺德·伯林特的<环境美学)》,《美与时代》,2008年第4期。
17、曾繁仁：《西方20世纪环境美学述评》,《社会科学战线》,2009年第2期。
18、乔燕冰：《美丽的幽灵——浅析阿诺德·伯林特环境美学的人类中心主义实质》,《佛山科学技术学院学报》(社会科学版),2009年第5期。
19、杨文臣：《论环境美学建构的两种取向》,《河南大学学报》,2010年第4期。
20、聂春华：《一种美学还是两种美学：从阿诺德·伯林特难题看环境美学的学科建设》,《广西大学学报》,2010年第5期。
21、鲁枢元：《城市之困与环境美学——记与美国环境美学家阿诺德·伯林特的一次学术交流》,《艺术百家》,2010年第6期。
22、陈后亮：《伯林特的城市美学观刍议》,《创新》,2010年第1期。
23、李媛媛：《审美介入：一种新的美学精神——访国际美学协会前主席阿诺德·伯林特教授》,《哲学动态》,2010年第07期。
24、刘悦笛：《从“审美介入”到“介入美学”——环境美学家阿诺德·伯林特访谈录》,《文艺争鸣》,2010年第21期。
25、赵玉：《走出美学与“否定美学”的困惑——对话当代环境美学家阿诺德·伯林特》,《学术月刊》,2011年第4期。
26、程相占：《环境美学对分析美学的承续与拓展》,《文艺研究》,2012年第3期。
27、刘为力：《景观体验的研究途径分析》,《建筑与文化》,2012年第4期。
28、潘华琴：《重归自然之径——阿诺德·伯林特环境美学思想研究》,《苏州大学学报》,2012年6月。
29、聂春华：《审美之域：论阿诺德·伯林特的审美经验现象学》,《衡阳师范学院学报》,2013年第1期。
30、马草：《论阿诺德·伯林特环境美学思想的局限》,《绥化学院学报》,2013年第5期。
31、谭好哲：《当代环境美学对西方现代美学的拓展与超越》,《天津社会科学》,2013年第5期。
32、李晓明：《参与美学：当代生态美学的重要审美观》,《山东社会科学》,2013年第5期。
33、[英]埃米莉·布雷迪：《走向真正的环境审美：化解景观审美经验中的边界和对立》,《江苏大学学报》,2008年第4期。
34、[美]理查德·舒斯特曼：《身体风格》(上),宋艳霞译,《艺术设计研究》,2011年第4期。
35、[美]理查德·舒斯特曼：《身体风格》(下),宋艳霞译,《艺术设计研究》,2012年第1期。
① ‘审美交融”是我引用了山东大学程相占的译法,国内学者对此有几种不同的翻译版本,如“审美交融”、“审美参与”、“审美介入”、“审美投入”等。其实,伯林特在不同的语境中对这几个术语分别使用了不同的英语词汇来表达,我也根据语境将它们译为不同的汉语,比如我将"aesthetic engagement"译为“审美交融”,"aesthetic participation"译为“审美参与”、‘'aesthetic involvement"译为“审美介入”,"aesthetic immersion"译为“审美投入”。与此一致,我将"aesthetics of engagement"译为“交融美学”,"aesthetics of participation"译为“参与美学”,而"aesthetics of involvement"译为“介入美学”。“参与美学”和“介入美学”是伯林特最先使用的术语,在他最后几本书中统一发展为“交融美学”,目前国外学者一般也以"aesthetics of engagement"(交融美学)或"aesthetic engagement"(审美交融)来表示伯林特所构建的新美学和审美理论。
① Mara Miller. The Garden as an Art. Albany:State University of New York Press,1993.米勒在其《作为艺术的花园》中探讨花园如何成为一种伟大的艺术,这拓展了艺术定义的范围,挑战了传统的审美理论。
② Marit K. Munson. The Archaeology of Art in the American Southwest. Plymouth:AltaMira Press,2011.
① David E. W. Fenner. Art in Context:Understanding Aesthetic Value. Athens, Ohio:Swallow Press/Ohio University Press,2008, p.141.
② Noel G. Charlton. Understanding Gregory Bateson:Mind, Beauty, and the Sacred Earth. Albany:the State University of New York Press,2008, p.153.
① Allen Carlson. Nature and Landscape:An Introduction to Environmental Aesthetics. New York:Columbia University Press,2009, p.31.
① Emily Brady. Aesthetics of the Natural Environment. Edinburgh:Edinburgh University Press Ltd.,2003, p.69.
① Katya Mandoki. Everyday Aesthetics:Prosaics the Play of Culture and Social Identities. Aldershot:Ashgate Publishing Limited,2007, p.21.
① 刘悦笛：《从“审美介入”到“介入美学”——环境美学家阿诺德·伯林特访谈录》,《文艺争鸣》,2010年第21期,第28页。
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.11.
① Hans Rainer Sepp, Lester E. Embree, eds. Handbook of Phenomenological Aesthetics. Ontario:Broadview Press, 2004, p.85.
② Sondra Horton Fraleigh. Dance and the Lived Body:A Descriptive Aesthetics. Pittsburgh:University of Pittsburgh Press,1987, p.xviii.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.21.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.20.
② Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.85.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.22.
② Edmund Husserl. Cartesian Meditations. The Hague:Nijhoff,1960, pp.21-33.
③ Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.61.
④ Noel G. Charlton. Understanding Gregory Bateson:Mind, Beauty, and the Sacred Earth. Albany:the State University of New York Press,2008, p.154.
① 莫里斯·梅洛-庞蒂：《知觉的首要性与其他文章》,西北大学出版社,1964年版,第42页。
② Maurice Merleau-Ponty. The Visible and the Invisible. Evanston:Northwestern University Press,1968, p.250.
③ Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.91.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.92.
② M.Merleau-Ponty. "Eye and Mind", in The Primacy of Perception. Evanston:Northwestern University Press, 1964, p.178.
③ Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.28.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.7.
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第3页。
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.159.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.39.
① John Dewey. Art as Experience. New York:Minton, Balch&Co.,1934, p.10.
② Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.164.
③ Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.161.
④ Thomas Munro. Review:The Aesthetic Field:A Phenomenology of Aesthetic Experience by Arnold Berleant. Philosophy and Phenomenological Research,1971,32(2), p.279.
① John Dewey. Art as Experience. New York:Minton, Balch&Co.,1934, p.214.
② John Dewey. Art as Experience. New York:Minton, Balch&Co.,1934, p.139.
③ John Dewey. Art as Experience. New York:Minton, Balch&Co.,1934, p.162.
④ John Dewey. Art as Experience. New York:Minton, Balch&Co.,1934, p.249.
⑤ John Dewey. Art as Experience. New York:Minton, Balch&Co.,1934, p.46.
① [美]史蒂文·布拉萨：《景观美学》,彭锋译,北京大学出版社,2008年版,第58页。
② John Dewey. The Postulate of Immediate Empiricism. The Influence of Darwin on Philosophy. New York:Peter Smith,1951,p.227.
③ Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.167.
④ Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.165.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield, Ill.:C. C. Thomas, 1970, p.46.
① Thomas Munro. Review:The Aesthetic Field:A Phenomenology of Aesthetic Experience by Arnold Berleant. Philosophy and Phenomenological Research,1971,32(2), p.278.
② Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.24.
③ Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.25.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.28.
② Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.31.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas,1970, p.37.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.48.
② Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.6.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield, Ill.:C. C. Thomas, 1970, p.7.
② Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield, Ill.:C. C. Thomas, 1970, p.10.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.17.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.18.
① D. W. Prall. Aesthetic Judgment. New York:T. W. Crowell,1929, p.28。
② Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.6.
③ Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.7.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.47.
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.49.
② Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004, p.67.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.51.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.73.
② Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.165.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.90.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.6.
② Arnold Berleant. Aesthetics and the Contemporary Arts. The Journal of Aesthetics and Art Criticism,1970, p.165.
① Arnold Berleant. The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.48.
② Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.8.
① Maurice Merleau-Ponty. The Primacy of Perception. Evanston:Northwestern University press,1964. p.16.
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第12页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第12页。
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.22.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.23.
③ Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010. p.24.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.25.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.26.
① Arnold Berleant The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas, 1970, p.188.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.29.
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, P.158.
① [加]艾伦·卡尔松：《自然与景观》,陈李波译,湖南科学技术出版社,2006年版,第7页。
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.7.
③ Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.41.
① 刘悦笛：《从“审美介入”到“介入美学”——环境美学家阿诺德·伯林特访谈录》,《文艺争鸣》,2010年第21期,第32页。
② Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.41.
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.45.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.87.
② Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.120.
① Anna-Teresa Tymieniecka.ed. Phenomenology and Existentialism in the Twentieth Century:Book II. London: Springer,2009. p.383.
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第3页。
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.12.
② Jerrold Levinson, ed. The Oxford Handbook of Aesthetics. New York:Oxford University Press,2002, p.118.
① Samantha Clark. Contemporary Art and Environmental Aesthetics. Environmental Values,2010, p.356.
② Arnold Berleant Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.168.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.98.
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第109页。
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.153.
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.158.
② Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.158.
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.70.
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.189.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.66.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.74.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.79.
① Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.29.
② Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.29.
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.10.
② Arnold Berleant The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.12.
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.34.
② Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.132.
③ Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.11.
① Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.24.
② Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.13.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.14.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.117.
① Samantha Clark. Contemporary Art and Environmental Aesthetics. Environmental Values,2010, p.352.
① 曾繁仁：《西方20世纪环境美学述评》,《社会科学战线》,2009年第2期,第235页。
① Yuriko Saito. Future Directions for Environmental Aesthetics. Environmental Values,2010, p.374.
② Renee Conroy. Engaging Berleant:A Critical Look at Aesthetics and Environment:Variations on a Theme. Ethics, Place & Environment:A Journal of Philosophy & Geography,2007, p.217.
① Renee Conroy. Engaging Berleant:A Critical Look at Aesthetics and Environment:Variations on a Theme. Ethics, Place & Environment:A Journal of Philosophy & Geography,2007, p.218.
② Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.22.
③ Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.40.
① Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.32.
① Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.108.
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.123.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.117.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, pp.126-127.
③ Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.127.
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.85.
② Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.91.
① Holmes Rolston III. Philosophy Gone Wild. Buffalo. NY:Prometheus,1989, pp.118-143.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.125.
① The Oxford English Dictionary. Oxford:Clarendon,1933, p.54.
① Compact Edition of the Oxford English Dictionary. Vol. Ⅲ. A Supplement to the Oxford English Dictionary Oxford:Clarendon,1987. p.587.
② Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.37.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.121.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.123.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.27.
② E. Relph. Place and Placelessness. London:Pion,1976, pp.42-43.
③ Yi-Fu Tuan. Place:an Experiential Perspective. The Geographical Review,1975, p.151.
④ Sarah Menin, ed. Constructing Place:Mind and Matter. New York:Routledge,2003, p.8.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.84.
② Yi-Fu Tuan. Topophilia, A Study of Environmental Perception, Attitudes, and Values. Englewood Cliffs: Prentice-Hall,1974, p.138.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.53.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.139.
① Trjo Sepanmaa. The beauty of environment:A general model for environmental aesthetics. Helsinki:Painomeklari Ky. Scandiprint Oy,1986, p.21.
② 刘悦笛：《从“审美介入”到“介入美学”——环境美学家阿诺德·伯林特访谈录》,《文艺争鸣》,2010年第21期,第32页。
① Robert E. Innis. Review:Sensibility and sense:The Aesthetic Transformation of the Human World by Arnold Berleant. The Pluralist,2011, (6)2, p.65.
① Katya Mandoki. Everyday Aesthetics:Prosaic the Play of Culture and Social Identities. Aldershot:Ashgate Publishing Limited,2007, p.83.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.4.
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.207.
② Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.208.
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.205.
① Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004, p.74.
① Arnold Berleant. A Response to Conroy and Carlson. British Journal of Aesthetics,2006, p.237.
② Arnold Berleant. A Response to Conroy and Carlson. British Journal of Aesthetics,2006, p.238.
① C. W. Prall. Aesthetic Judgment. New York:Crowell,1929, p.19.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.86.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.30.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.46.
① Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.70.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, pp.44-45.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.47.
① Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004, p94.
② Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004, p95.
③ Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004, p96.
① Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts. Aldershot:Ashgate,2004, p97.
② Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts. Aldershot:Ashgate,2004, p99.
③ Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts. Aldershot:Ashgate,2004, p100.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.53.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.58.
② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, pp.58-59.
① Yuriko Saito. Future Directions for Environmental Aesthetics. Environmental Values,2010, p.376.
① Friedrich Schiller, E.M Wilkinson and L. A.Willoughby, eds. and trans. On the Aesthetic Education of Man. Oxford:Clarendon,1967, p.125.
② Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot:Ashgate,2005, p.149.
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第181页。
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.95.
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第134页。
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第136页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第138页。
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第140页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第140页。
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第141页。
③ [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第157页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第160页。
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第161页。
③ [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第163页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第165页。
② Arnold Berleant. A Response to Conroy and Carlson. British Journal of Aesthetics,2006, p.238.
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第122页。
② Pauline von Bonsdorff. The Human Habitat Jyvaskyla, Finland:Gummerus Kirjapaino Oy,1998, p.133.
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第125页。
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第125页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第128页。
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第132页。
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The. Human World. Charlottesville:
Imprint Academic,2010, p.88. ② Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.88.
① [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第185页。
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版,第188页。
① Pauline Von Bonsdorff. Review on Sensibility and Sense:The Aesthetic Transformation of the Human World. By Arnold Berleant. Environmental Values,2010, p.407.
② Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts. Aldershot:Ashgate,2004, p112.
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.39.
② 程相占：《哈佛访学对话录》,商务印书馆,2011年版,第56页。
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World Charlottesville: Imprint Academic,2010, p.72.
② Allen Carlson. Nature and Landscape:An Introduction to Environmental Aesthetics. New York:Columbia University Press,2009, p.30.
① Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991, p.xii.
② [加]艾伦·卡尔松：《自然与景观》,陈李波译,湖南科学技术出版社,2006年版,第44页。
③ Allen Carlson. Critical Notice:Aesthetics and Environment. British Journal of Aesthetics,2006, p.417.
④ Allen Carlson. Critical Notice:Aesthetics and Environment. British Journal of Aesthetics,2006, p.417.
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.120.
① Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville: Imprint Academic,2010, p.6.
② Marit K. Munson. The Archaeology of Art in the American Southwest. Plymouth:AltaMira Press,2011, p.123.
③ Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.132.
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p144.
② [美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南人民出版社,2013年版,第165页。
① Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992, p.26.
① Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p.5.
② Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997, p149.
① Hans Rainer Sepp, Lester E. Embree, eds. Handbook of Phenomenological Aesthetics. Ontario:Broadview Press, 2004, p89.
② Arnold Berleant. A Response to Conroy and Carlson. British Journal of Aesthetics,2006, p.238.
① Allen Carlson. Critical Notice:Aesthetics and Environment. British Journal of Aesthetics,2006, p.421.
② Malcolm Budd. The Aesthetic Appreciation of Nature. Oxford:Oxford University Press,2002, p.111.
③ Stan Godlovitch. Review:The Aesthetics of Environment by Arnold Berleant. The Journal of Aesthetics and Art Criticism,1994, (52)4, P.479.
① Andrew Light, Jonathan Smith, eds. The Aesthetics of Everyday Life. New York:Columbia University Press, 2005, p.5.
② Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004, p.85.
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.47.
① [美]阿诺德·伯林特：《美学再思考》,肖双荣译,武汉大学出版社,2010年版,第22页。
① Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot:Ashgate,2012, p.44.
1. Arnold Berleant.The Aesthetic Field:A Phenomenology of Aesthetic Experience. Springfield,Ill.:C. C. Thomas,1970.
2. Arnold Berleant. Art and Engagement. Philadelphia:Temple University Press,1991.
3. Arnold Berleant. The Aesthetics of Environment. Philadelphia:Temple University Press,1992.
4. Arnold Berleant. Living in the Landscape:toward an Aesthetics of Environment. Lawrence:University Press of Kansas,1997.
5. Arnold Berleant. Re-thinking Aesthetics:Rogue Essays on Aesthetics and the Arts Aldershot:Ashgate,2004.
6. Arnold Berleant. Aesthetics and Environment:Variations on a Theme. Aldershot: Ashgate,2005.
7. Arnold Berleant. Sensibility and Sense:The Aesthetic Transformation of The Human World. Charlottesville:Imprint Academic,2010.
8. Arnold Berleant. Aesthetics Beyond the Arts:New and Recent Essays. Aldershot: Ashgate,2012.
1. Arnold Berleant, eds., The Ethical Factor in Business Decisions. Brookville, N.Y.: C. W. Post Center of Long Island University,1982.
2. Arnold Berleant, eds., Environment and the Arts:Perspectives on Environmental Aesthetics. Aldershot:Ashgate,2002.
3. Allen Carlson and Arnold Berleant, eds., The Aesthetics of Natural Environments. Peterborough,Ontario:Broadview Press Ltd,2004.
4. Arnold Berleant and Allen Carlson, eds., The Aesthetics of Human Environments. Peterborough, Ontario:Broadview Press Ltd,2007.
1. Alfred Biese. The Development of the Feeling for Nature. London:George Routledge and Sons, Ltd.,1905.
2. Allen Carlson and Sheila Lintott, eds., Nature, Aesthetics, and Environmentalism: From Beauty to Duty. New York:Columbia University Press,2008.
3. Allen Carlson. Nature and Landscape:An Introduction to Environmental Aesthetics. New York:Columbia University Press,2009.
4. Allen Carlson. Aesthetics and the environment:the appreciation of nature, art and architecture. London and New York:Routledge,2000.
5. Andrew Light, Jonathan Smith. The Aesthetics of Everyday Life. New York: Columbia University Press,2005.
6. Anna-Teresa Tymieniecka,ed. Phenomenology and Existentialism in the Twentieth Century:Book Ⅱ. London:Springer,2009.
7. Berys Gaut and Dominic Mclver Lopes, eds., The Routledge Companion to Aesthetics. London:Routledge,2005.
8. Birgit Meyer, ed. Aesthetic Formations:Media, Religion and the Senses. New York:Palgrave Macmillan,2009.
9. Carleton B. Christensen. Self and World-From Analytic Philosophy to Phenomenology. Berlin New York:Walter de Gruyter,2008.
10. Crispin Sartwell. Six Names of Beauty. New York and London:Routledge,2004.
11. Dabney Townsend. Historical Dictionary of Aesthetic. Lanham, Maryland-Toronto-Oxford: The Scarecrow Press, Inc.,2006.
12. David E. W. Fenner. Art in Context:Understanding Aesthetic Value. Athens, Ohio: Swallow Press/Ohio University Press,2008.
13. David E. Cooper, ed., A Companion to Aesthetics. Oxford:Blackwell,1922.
14. David E. Cooper. A Philosophy of Gardens. New York:Oxford University Press Inc.,2006.
15. Donald M. Borchert, ed., The Encyclopedia of Philosophy,2nd ed. New York: Macmillan,2006.
16. Edmund Husserl. Trans, Dorion Cairns. Cartesian Meditations. Hague:Martinus Nijhoff Publishers,1960.
17. Edward Craig, ed., Routledge Encyclopedia of Philosophy Online. London: Routledge,2002.
18. Edward N. Zalta, ed., The Stanford Encyclopedia of Philosophy. Stanford, Calif.: Metaphysics Research Lab,2007.
19. Edward Winters. Aesthetics and Architecture. London and New York: Continuum International Publishing Group,2007.
20. Emily Brady. Aesthetics of the Natural Environment. Edinburgh:Edinburgh University Press Ltd.,2003.
21. E. Relph. Place and Placelessness. London:Pion,1976.
22. Friedrich Schiller. E.M Wilkinson and L. A.Willoughby, ed. And trans. On the Aesthetic Education of Man. Oxford:Clarendon,1967, p125.
23. George Dickie. Art and the Aesthetic:An Institutional Analysis. Ithaca and London:Cornell University Press,1974.
24. George Dickie. The Art Circle:A Theory of Art. New York:Haven Publications, 1984.
25. George Hagman. Aesthetic Experience. New York:Amsterdam,2005.
26. Glenn Parsons and Allen Carlson. Functional Beauty. Oxford:Clarendon Press, 2008.
27. Hans Rainer Sepp, Lester E. Embree, eds., Handbook of Phenomenological Aesthetics. Ontario:Broadview Press,2004.
28. Holmes Rolston III, Philosophy Gone Wild. Buffalo, NY:Prometheus,1989.
29. Immanuel Kant. Trans, J. M. D. Meiklejohn. The Critique of Pure Reason. London:Mdcccly,1855.
30. Jack L. Nasar, eds., Environmental Aesthetics:Theory, Research, and Application. New York:Cambridge University Press,1988.
31. J. Douglas Porteous. Environmental Aesthetics:Ideas, Politics and Planning. London:Routledge,1996.
32. Martin Heidegger. Trans, Tracy Colony. Phenomenology of Intuition and Expression. London:Continuum,2010.
33. JEROME A. POPP. Evolution's First Philosopher:John Dewey and the Continuity of Nature. Albany:State University of New York Press,2007.
34. Jerrold Levinson, ed., The Oxford Handbook of Aesthetics. New York:Oxford University Press,2002.
35. James J. Gibson, The Perception of the Visual World. Boston:Houghton, Mifflin, 1950.
36. James J. Gibson, The Ecological Approach to Visual Perception. Boston: Houghton Mifflin,1979.
37. John Dewey. Art as Experience. New York:G.P. Putnam's Sons,1934.
38. John Dewey. Experience and Nature. London:George Allen and Unwin, LTD.,1929.
39. John O'Neill, Alan Holland and Andrew Light. Environmental Values. London:Continuum,2010.
40. John R Shook, eds., Dictionary of Modern American Philosophers. London and New York:Routledge,2008.
41. Katya Mandoki. Everyday Aesthetics:Prosaics the Play of Culture and Social Identities. Aldershot:Ashgate Publishing Limited,2007.
42. Malcolm Budd. The Aesthetics Appreciation of Nature. Oxford:Oxford University Press,2002.
43. Marit K. Munson. The Archaeology of Art in the American Southwest. Plymouth: AltaMira Press,2011.
44. Mara Miller. The Garden as an Art. Albany:State University ofNew York Press,1993.
45. Maurice Merleau-Ponty. Alphonso Lingis, trans. The Visible and the Invisible. Evanston:Northwestern University Press,1968.
46. M.Merleau-Ponty, "Eye and Mind ", in The Primacy of Perception. Evanston: Northwestern University Press,1964
47. M. C. Beardsley. Aesthetics from Classical Greece to the Present, New York:The Macmillan Company,1966.
48. Monroe BeardsleyAesthetics.Problems in the Philosophy of Criticism,2nd ed. Indianapolis:Hackett Publishing Company, Inc.,1981.
49. Noel G. Charlton. Understanding Gregory Bateson:Mind, Beauty, and the Sacred Earth. Albany:the State University of New York Press,2008.
50. Peter Kivy, ed., Blackwell Guide to Aesthetics. Oxford:Blackwell,2003.
51. Peter Kivy. The Seventh Sense. Oxford:Clarendon Press,2003.
52. Robert Paehlke, ed., Conservation and Environmentalism:An Encyclopedia. New York:Garland,1995.
53. Richard Shusterman and Adele Tomlin, eds. Aesthetic Experience. London and New York:Routledge,2008.
54. Ronald W. Hepburn. Wonder'and Other Essays. Edinburgh University Press,1984.
55. Ronald W. Hepburn. The Reach of the Aesthetic:Collected Essays on Art and Nature. Aldershot; Burlington, VT:Ashgate,2001.
56. Salim Kemal and Ivan Gaskell, eds. Landscape, Natural Beauty and the Arts. Cambridge:Cambridge University Press,1993.
57. Sarah Menin,ed., Constructing Place:Mind and Matter. New York:Routledge, 2003.p8
58. Sean Esbjorn-Hargens. Integral Ecology. Boston:Michael Garfield,2009.
59. S. C. Bourassa. The Aesthetics of Landscape. London:Belhaven,1991.
60. Sondra Horton Fraleigh. Dance and the Lived Body:A Descriptive Aesthetics. Pittsburgh:University of Pittsburgh Press,1987.
61. Terry Eagleton. The Ideology of the Aesthetic. Oxford:Blackwell,1990.
62. Timothy Morton. Ecology Without Nature, Rethinking Environmental Aesthetics. Cambridge, Massachusetts:Harvard University Press,2007.
63. Thomas Heyd. Encountering Nature:Toward an Environmental Culture. Aldershot:Ashgate Publishing Limited,2007.
64. Vernon Pratt, Jane Howarth and Emily Brady. Environment and Philosophy. London and New York:Routledge,2000.
65. Yi-Fu Tuan, Topophilia, A Study of Environmental Perception, Attitudes, and Values. Englewood Cliffs:Prentice-Hall,1974.
66. Yrjo Sepanmaa. The Beauty of Environment:A General Model for Environmental Aesthetics. Helsinki:Painomeklari Ky. Scandiprint Oy,1986.
67. Yuriko Saito. Everyday Aesthetics. New York:Oxford University Press,2007.
1. A. D. Nelson. Ethical Relativism and the Study of Political Value. Canadian Journal of Political Science, Vol.11, No.1,1978.
2. Allen Carlson. The Aesthetic Appreciation of Environmental Architecture under Different Conceptions of Environment. Journal of Aesthetic Education,2006.
3. Allen Carlson. Contemporary Environmental Aesthetics and the Requirements of Environmentalism. Environmental Values,2010.
4. Allen Carlson. Environmental Aesthetics and the Dilemma of Aesthetic Education. Journal of Aesthetic Education, Vol.10, No.2,1976.
5. Allen Carlson. Critical Notice:Aesthetics and Environment. British Journal of Aesthetics,2006.
6. Andrew Light. Not Out of the Woods:Preserving the Human in Environmental Architecture. Environmental Values,2005.
7. Anli Ataov. Environmental Aesthetics. Journal of Planning Literature,1998.
8. Arthur E. Stamps III. Demographic Effects in Environmental Aesthetics:A Meta-Analysis. Journal of Planning Literature,1999.
9. Arto Haapala. Book Review on The Aesthetics of Natural Environments. Broadview Press.2004.
10. Cheryl Foster. The Narrative and the Ambient in Environmental Aesthetics. The Journal of Aesthetics and Art Criticism, Vol.56, No.2,1998.
11. David E.W. Fenner. Aesthetic Appreciation in the Art world and in the Natural World. Environmental Values,2003.
12. Dawn Hill and Terry C. Daneil. Foundations for an Ecological Aesthetic:Can Information Alter Landscape Preferences! Society and Natural Resources,2008.
13. Douglas Porteous. Approaches to Environmental Aesthetics. Journal of Environmental Psychology,1982.
14. Elvira Panaiotidi. What Is Music? Aesthetic Experience versus Musical Practice. Philosophy of Music Education Review, Vol.11, No.1,2003.
15. Emily Brady. Don't Eat the Daisies:Disinterestedness and the Situated Aesthetic. Environmental Values,1998.
16. Yi-Fu Tuan. Place:An Experiential Perspective. Geographical Review,1975.
17. Glenn Parsons. Freedom and Objectivity in the Aesthetic Appreciation of Nature. British Journal of Aesthetics, Vol.46, No.1, January 2006.
18. Heta Kauppinen. Environmental Aesthetics and Art Education. Art Education, Vol. 43, No.4,1990.
19. Irene Gammel. Embodied Landscape Aesthetics in Anne of Green Gables. The Lion and the Unicorn, Volume 34, Number 2, April 2010.
20. Isis Brook. Wildness in the English Garden Tradition. Ethics & the Environment, 2008.
21. Isis Brook. Ronald Hepburn and the Humanizing of Environmental Aesthetics. Environmental Values,2010.
22. Isis Brook. Book Review on Sensibility and Sense:The Aesthetic Transformation of the Human World. Book Review,2010.
23. Jason Simus. Disturbing Nature's Beauty:Environmental Aesthetics in a New Ecological Paradigm. American Society for Aesthetics Graduate E-journal 2:2 Spring/Summer 2010.
24. Jay Appleton. Nature as Honorary Art. Environmental Values 7,1998..
25. Jonathan Maskit.'Line of Wreckage':Towards a Postindustrial Environmental Aesthetics. Ethics, Place & Environment:A Journal of Philosophy & Geography,2007.
26. Jonathan Parker. A Kantian Critique of Positive Aesthetics of Nature. American Society for Aesthetics Graduate E-journal 2:2 Spring/Summer 2010.
27. Katherine W. Robinson & Kevin C. Elliott. Environmental Aesthetics and Public Environmental Philosophy. Ethics, Policy and Environment,Vol.14, No.2,2011,
28. Marianne O'Brien. The Aesthetic Significance of Nature's Otherness. Environmental Values,2006.
29. Matthew Turner. Classical Chinese Landscape Painting and the Aesthetic Appreciation A. D. Nelson of Nature. The Journal of Aesthetic Education,2009.
30. Ossi Naukkarinen. Ambients, Houses, and Other Popular Environments: Aesthetics of Popular Culture as Environmental Aesthetics. Journal of American and Comparative Cultures.
31. Pauline Von Bonsdorff. Book Review on Sensibility and Sense:The Aesthetic Transformation of the Human World. Environmental Values,2010.
32. Ricardo Garci'a-Mira and J. Eulogio Real. Environmental perception and cognitive maps. International Journal of Psychology,2005.
33. Robert P. McIntosh. Ecology Without Nature, Rethinking Environmental Aesthetics. The American Midland Naturalist,2008.
34. Russ Parsons. Conflict Between Ecological Sustainability and Environmental Aesthetics:Conundrum, Cantid or Curiosity. Landscape and Urban Planning, 1995.
35. Russ Parsons Terry C. Daniel. Good looking:In Defense of Scenic Landscape Aesthetics. Landscape and Urban Planning,2002.
36. Samantha Clark. Contemporary Art and Environmental Aesthetics. Environmental Values,2010.
37. Sheldrake, Philip. Human Identity and the Particularity of Place. Spiritus:A Journal of Christian Spirituality, Volume 1, Number 1,2001.
38. Sheila Lintott. Feminist Aesthetics and the Neglect of Natural Beauty. Environmental Values,2010..
39. Stan Godlovitch. Some Theoretical Aspects of Environmental Aesthetics. Journal of Aesthetic Education, Vol.32, No.4,1998.
40. Thomas Munro. Review.The Aesthetic Field:A Phenomenology of Aesthetic Experience by Arnold Berleant. Philosophy and Phenomenological Research, 1971,32(2).
41.Warwick Mules. Open country:Towards a material environmental aesthetics. Continuum:Journal of Media & Cultural Studies,2008,20 (2).
42. Yrjo Sepanmaa. From Theoretical to Applied Environmental Aesthetics:Academic Aesthetics Meets Real-World Demands. Environmental Values,2010.
43. Yuriko Saito. Everyday Aesthetics. Philosophy and Literature,2001.
44. Yuriko Saito. Future Directions for Environmental Aesthetics. Environmental Values,2010.
1、[美]阿诺德·伯林特：《环境美学》,张敏、周雨译,湖南科学技术出版社,2006年版。
2、[美]阿诺德·伯林特：《生活在景观中——走向一种环境美学》,陈盼译,湖南科学技术出版社,2006年版。
3、[美]阿诺德·伯林特：《环境与艺术：环境美学的多维视角》,刘悦笛等译,重庆出版社,2007年版。
4、[美]阿诺德·伯林特：《艺术与介入》,李媛媛译,商务印书馆,2013年版。
5、[美]阿诺德·伯林特：《美学与环境：一个主题的多重变奏》,程相占、宋艳霞译,河南大学出版社,2013年版。
6、[加拿大]艾伦·卡尔松：《环境美学》,杨平译,四川人民出版社,2006年版。
7、[加拿大]艾伦·卡尔松：《自然与景观》,陈李波译,湖南科学技术出版社,2006年版。
8、[德]埃德蒙德·胡塞尔：《生活世界现象学》,倪良康、张廷国译,上海译文出版社,2005年版。
9、[德]埃德蒙德·胡塞尔：《笛卡尔沉思与巴黎讲演》,张宪译,人民出版社,2008年版。
10、[德]马丁·海德格尔：《存在与时间》,陈嘉映、王庆节译,生活·读书·新知三联书店,2006年版。
11、[德]马丁·海德格尔：《形而上学导论》,熊伟、王庆节译,商务印书馆,1996年版。
12、[法]莫里斯·梅洛-庞蒂：《知觉现象学》,姜志辉译,商务印书馆,2005年版。
13、[法]莫里斯·梅洛-庞蒂：《眼与心》,杨大春译,商务印书馆,2007年版。
14、[法]莫里斯·梅洛-庞蒂：《可见的与不可见的》,罗国祥译,商务印书馆,2008年版。
15、[美]霍尔姆斯·罗尔斯顿：《哲学走向荒野》,刘耳、叶平译,吉林人民出版社,2000年版。
16、[美]霍尔姆斯·罗尔斯顿：《环境伦理学》,杨通进译,中国社会科学出版社,2000年版。
17、[芬]约·瑟帕玛：《环境之美》,武小西、张宜译,湖南科学技术出版社,2006年版。
18、[英]罗杰·斯克鲁顿：《建筑美学》,刘先觉译,中国建筑工业出版社,2003年版。
19、[美]林奇：《城市意象》,方益萍等译,华夏出版社,2001年版。
20、[美]理查德·舒斯特曼：《实用主义美学》,彭锋译,商务印书馆,2002年版。
21、[美]理查德·舒斯特曼：《生活即审美——审美经验和生活艺术》,北京大学出版社,2007年版。
22、[美]理查德·舒斯特曼：《身体意识与身体美学》,程相占译,商务印书馆,2011年版。
23、[美]约翰·杜威：《艺术即经验》,高建平译,商务印书馆,2010年版。
24、[法]让-马里·舍费尔：《现代艺术》,生安锋、宋丽丽译,商务印书馆,2012年版。
25、[美]埃伦·迪萨纳亚克：《审美的人》,户晓辉译,商务印书馆,2005年版。
26、[美]诺埃尔·卡罗尔：《超越美学》,李媛媛译,商务印书馆,2006年版。
27、[法]米歇尔·柯南：《穿越岩石景观——贝尔纳·拉絮斯的景观言说方式》,赵红梅、李悦盈译,湖南科学技术出版社,2006年版。
28、[加]卡菲·凯丽：《艺术与生存——帕特丽夏·约翰松的环境工程》,陈国雄译,湖南科学技术出版社,2008年版。
29、[美]史蒂文·布拉萨：《景观美学》,彭锋译,北京大学出版社,2008年版。
30、[美]蕾切尔·卡森：《寂静的春天》,吕瑞兰、李长生译,上海译文出版社,2010年版。
31、[法]米盖尔·杜夫海纳：《审美经验现象学》,文化艺术出版社,1992年版。
32、[法]米盖尔·杜夫海纳：《美学与哲学》,孙菲译,中国社会科学出版社,1985年版。
33、[德]鲍姆加登：《美学》,简明、王旭晓译,文化艺术出版社,1987年版。
34、[美]奥尔多·利奥波德：《沙乡的沉思》,侯文惠译,经济科学出版社,1992年版。
35、[美]奥尔多·利奥波德：《沙乡年鉴》,侯文惠译,吉林人民出版社,1997年版。
36、[德]沃尔夫冈·韦尔施：《重构美学》,陆扬、张岩冰译,上海译文出版社,2002年版。
37、[德]康德：《判断力批判》,邓晓芒译,人民出版社,2002年版。
38、[德]黑格尔：《美学》,朱光潜译,商务印书馆,1979年版。
39、[德]席勒：《审美教育书简》,冯至、范大灿译,北京大学出版社,1985年版。
40、[美]彼得·伯格,托马斯·卢克曼：《现实的社会构建》,汪涌译,北京大学出版社,2009年版。
41、[法]让-弗朗索瓦-利奥塔尔：《后现代状态：关于知识的报告》,车槿山译,南京大学出版社,2011年版。
42、[美]鲁道夫·阿恩海姆：《艺术与视知觉》,滕守尧、朱疆源译,四川人民出版社,1998年版。
43、[美]鲁道夫·阿恩海姆：《建筑形式的视觉动力》,中国建筑工业出版社,2006年版。
44、[美]肯特·C·布鲁姆,查尔斯·W·摩尔：《身体记忆与建筑：建筑设计的基本原则和基本原理》,成朝晖译,中国美术学院出版社,2008年版。
45、[德]库尔特·莱温：《拓扑心理学原理》,竺培梁译,北京大学出版社,2001年版。
46、[英]特里·伊格尔顿：《审美意识形态》,王杰等译,广西师范大学出版社,2001年版。
47、陆扬：《日常生活审美化批判》,复旦大学出版社,2012年版。
48、曾繁仁：《生态美学导论》,商务印书馆,2010年版。
49、陈炎：《中国审美文化史》,山东画报出版社,2007年版。
50、彭锋：《完美的自然——当代环境美学的哲学基础》,北京大学出版社,2005年版。
51、赵秀福：《杜威实用主义美学思想研究》,齐鲁书社,2006年版。
52、程相占：《中国环境美学思想研究》,河南人民出版社,2009年版。
53、杨平：《环境美学的谱系》,南京出版社,2007年版。
54、陈望衡：《环境美学》,武汉大学出版社,2007年版。
55、童强：《空间哲学》,北京大学出版社,2011年版。
1、[美]阿诺德·伯林特：《美学的交融和城市的环境》,《城市资源》,第1卷,1984年第4期。
2、[美]阿诺德·伯林特：《城市生态学的审美范型》,《第欧根尼》,1987年第2期。
3、[美]阿诺德·伯林特：《培植一种城市美学》,《第欧根尼》,1987年第2期。
4、[美]阿诺德·伯林特：《环境：向美学的挑战》,《江西社会科学》,2004年第5期。
5、[美]阿诺德·伯林特：《美学再思考》,《湖南人文科技学院学报》,2006年第5期。
6、[美]阿诺德.伯林特、程相占：《审美生态学和城市环境》,《学术月刊》,2008年第3期。
7、程相占、[美]阿诺德·伯林特：《从环境美学到城市美学》,《学术研究》,2009年第5期。
8、[美]阿诺德·伯林特：《美学中的体验和理论》,《文艺研究》,1992年第1期。
9、[美]阿诺德·伯林特：《环境美学的发展及其新近问题》,《世界哲学》,2008年第3期。
10、张敏：《阿诺德·伯林特的环境美学建构》,《文艺研究》,2004年第4期。
11、彭峰：《环境美学的审美模式分析》,《郑州大学学报》,2006年第6期。
12、聂春华：《社会主义新农村景观建设的审美范式——从阿诺德·伯林特出发》,《河南社会科学》,2007年第4期。
13、吴笑韬：《结合美学对审美无功利命题的批判浅析》,《美与时代》,2007年第12期。
14、刘清平、王希：《环境审美：科学认知还是情感参与?——从两种环境审美观看中西哲学自然观的整合》,《郑州大学学报》(哲学社会科学版),2007年第5期。
15、邓军海：《连续性形而上学与阿德诺·伯林特的环境美学思想》,《郑州大学学报》(哲学社会科学版),2008年第1期。
16、刘新叶：《美学研究的重要拓展——评阿诺德·伯林特的<环境美学)》,《美与时代》,2008年第4期。
17、曾繁仁：《西方20世纪环境美学述评》,《社会科学战线》,2009年第2期。
18、乔燕冰：《美丽的幽灵——浅析阿诺德·伯林特环境美学的人类中心主义实质》,《佛山科学技术学院学报》(社会科学版),2009年第5期。
19、杨文臣：《论环境美学建构的两种取向》,《河南大学学报》,2010年第4期。
20、聂春华：《一种美学还是两种美学：从阿诺德·伯林特难题看环境美学的学科建设》,《广西大学学报》,2010年第5期。
21、鲁枢元：《城市之困与环境美学——记与美国环境美学家阿诺德·伯林特的一次学术交流》,《艺术百家》,2010年第6期。
22、陈后亮：《伯林特的城市美学观刍议》,《创新》,2010年第1期。
23、李媛媛：《审美介入：一种新的美学精神——访国际美学协会前主席阿诺德·伯林特教授》,《哲学动态》,2010年第07期。
24、刘悦笛：《从“审美介入”到“介入美学”——环境美学家阿诺德·伯林特访谈录》,《文艺争鸣》,2010年第21期。
25、赵玉：《走出美学与“否定美学”的困惑——对话当代环境美学家阿诺德·伯林特》,《学术月刊》,2011年第4期。
26、程相占：《环境美学对分析美学的承续与拓展》,《文艺研究》,2012年第3期。
27、刘为力：《景观体验的研究途径分析》,《建筑与文化》,2012年第4期。
28、潘华琴：《重归自然之径——阿诺德·伯林特环境美学思想研究》,《苏州大学学报》,2012年6月。
29、聂春华：《审美之域：论阿诺德·伯林特的审美经验现象学》,《衡阳师范学院学报》,2013年第1期。
30、马草：《论阿诺德·伯林特环境美学思想的局限》,《绥化学院学报》,2013年第5期。
31、谭好哲：《当代环境美学对西方现代美学的拓展与超越》,《天津社会科学》,2013年第5期。
32、李晓明：《参与美学：当代生态美学的重要审美观》,《山东社会科学》,2013年第5期。
33、[英]埃米莉·布雷迪：《走向真正的环境审美：化解景观审美经验中的边界和对立》,《江苏大学学报》,2008年第4期。
34、[美]理查德·舒斯特曼：《身体风格》(上),宋艳霞译,《艺术设计研究》,2011年第4期。
35、[美]理查德·舒斯特曼：《身体风格》(下),宋艳霞译,《艺术设计研究》,2012年第1期。