Theoretical Studies in Literature and Art ›› 2018, Vol. 38 ›› Issue (4): 162-170.
• Western Literary Theory and Studies in Aesthetics • Previous Articles Next Articles
Zhao Yu
Online:
Published:
About author:
Supported by:
Abstract: The concept of "aesthetic experience" has fallen into a serious predicament since the late 20th century, especially in Anglo-American philosophy. Sometimes this concept is put in the core position in aesthetics and art theories, while other time even its existence is questioned, only being taken as phantom or myth; According to some philosophers, this concept is commendatory and represents only those affective experiences, while in other philosophers' eyes, this concept is purely descriptive and can also contain those experiences without any affects or emotions. Underlying this predicament is the wrong binding of aesthetic experience with the definition of art, and the blurred distinction between aesthetic and artistic experiences. So, the best way to extricate the concept from the predicament is to break down the wrong binding, clarify the distinction, and liberate the concepts of aesthetic experience and art from each other.
Key words: aesthetic experience, predicament, definition of art, artistic experience
CLC Number:
 
Zhao Yu. The Predicament of Anglo-American Aesthetic Experience and Its Extrication[J]. Theoretical Studies in Literature and Art, 2018, 38(4): 162-170.
0 / / Recommend
Add to citation manager EndNote|Ris|BibTeX
URL: https://tsla.ecnu.edu.cn/EN/
https://tsla.ecnu.edu.cn/EN/Y2018/V38/I4/162
[1]Beardsley, Monroe.Aesthetics:Problems in the Philosophy of Criticism.New York:Harcourt, Brace, and World, 1958.
[2]---.“Aesthetic Experience Regained.”The Journal of Aesthetics and Art Criticism 28 (1969) :3-11.
[3]Curtler, Hugh, ed.What Is Art?New York:Haven, 1983.
[4]Carroll, No3l.“Aesthetic Experience Revisited.”British Journal of Aesthetics 42.2 (2002) :145-68.
[5]---.Beyond Aesthetics:Philosophical essays.New York:Cambridge University Press, 2003.
[6]Dickie, George.“Beardsley's phantom Aesthetic Experience.”The Journal of Aesthetics and Art Criticism 62.5 (1965) :129-36.
[7]---.“The Myth of the Aesthetic Experience.”American Philosophical Quarterly 1.1 (1964) , 56-65.
[8]---.“Beardsley's Theory of Aesthetic Experience.”Journal of Aesthetic Education 8.2 (1974) :13-23.
[9]Dewey, John.Art as Experience.New York:G.P.Putnam's Sons, 1980.
[10]Goldman, Alan.“The Broad View of Aesthetic Experience.”The Journal of Aesthetics and Art Criticism 71.4 (2013) :323-33.
[11]Goodman, Nelson.Ways of Worldmaking.Indianapolis and Cambridge:Hackett Publishing Co.1978.
[12]---.Languages of Art.New York:The Bobbs-Merrill Company, Inc.1968.
[13]杰罗德·列文森:“构想一种非极简主义式的审美经验概念”, 《文艺争鸣》4 (2016) :97-103。
[14][Levinson, Jerrold.“Toward a Non-Minimalist conception of Aesthetic Experience.”Free Views on Art 4 (2016) :97-103.]
[15]Shusterman, Richard.“The End of Aesthetic Experience.”The Journal of Aesthetics and Art Criticism 55.1 (1997) :29-41.
[16]---.“Aesthetic Experience:From Analysis to Eros.”The Journal of Aesthetics and Art Criticism 64.2 (2006) :217-29.
[17]Townsend, Dabney.Historical Dictionary of Aesthetics.Lanham:The Scarecrow Press, Inc.2006.
Hong Shen’s Artistic Experience and Psychological Journey in the Early 1920s: A Study of Newly Discovered Correspondence Between Hong Shen and George Pierce Baker