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Before the 19th century, from the originator of ancient Greece to the Renaissance, to the Enlightenment period in the 18th century, to the Romantic period in the 19th century, the emotional music aesthetics thinking led to the absolute superiority of Western music aesthetic thought, until the latter 19th century, there appeared th...

十九世纪之前,从古希腊发端,到文艺复兴,到十八世纪启蒙运动时期,再到十九世纪浪漫主义时期,情感论音乐美学思想以绝对的优势主导着西方音乐美学思想,直至十九世纪后期自律论音乐美学出现,对之产生巨大的冲击。

In the history of western aesthetics, phenomenology, analytical aesthetics and Gestalt psychology have provided more research on perception, from which we can draw a conclusion about aesthetics perception. The process of perception is a dynamic process, in which experience change to erlebenis and a Yijing and the sense become.

借鉴西方美学尤其是现象学、分析美学、格式塔美学对审美知觉的具体分析,本文认为:一,知觉表现为由经验向体验转变的动态过程,在这个过程中,一个涌动着意义的"境域"油然而生。

In the last part of the article, through joining the situation of researching of Heidegger"s aesthetics in China, the writer has objected the value of Heidegger"s aesthetic theory in reseaching the ontology of aesthetics, the interfluent between Chinese aesthetics and the West aesthetics, building modern language aesthetics, building modern aesthetic culture in China and buiding modern Hermes.

在论文的结束语部分,结合海德格尔美学在中国的研究现状,笔者归纳了海氏美学理论在美的本质问题的探讨、中西美学交流、现代语言美学、中国当代审美文化建设和现代阐释学中的价值。

The article mainlyattempts to reorganize Jin"s aesthetic thoughts in whole in order to make them moresystematic and orderer, and to highlight the most valuable parts in Jin"s aestheticthoughts and its influence to the novel aesthetic development after it.

所以本文主要尝试着从整体性上对金圣叹的小说美学思想加以梳理,使其达到系统化、条理化,突出其小说美学思想中最有价值的部分,并在此基础上阐释他的小说美学思想对其后小说美学发展的影响。

This article analyzes the current situation of aesthetics education in orthodontics in China.

从分析我国口腔正畸学的美学教育现状入手,结合美学教育的功能,阐述了美学教育在口腔正畸学教育领域的必要性、意义以及开展口腔正畸学美学教育的方法。

Geiger defined his phenomenology as the axiological aesthetics, and saw the aesthetic value as the character of a unique subject.

盖格尔将其现象学美学定义为价值论美学,并将审美价值视为美学作为一门独立学科的特征所在,因此,审美价值是本文论及的另一个重点。

The first chapter expounds that life care of the traditional culture constitutes the solid foundation and psychological support for Zhu Guangqian's study of traditional aesthetic thought, and elaborates the unique discovery that there is a deep connection between Zhu Guangqian and the literary theory of the Tong Cheng School. The second chapter sets forth the experience of Zhu Guangqian's traditional aesthetics which takes interest as the theoretical pivot, empathy as the theoretical core, and artistic life as the destination. and deeply explores and analyzes the inside information of the traditional culture and the dilemma of the fusion of the Chinese and western cultures contained in Zhu Guangqian's empathy thought. The third chapter discusses Zhu Guangqian's identification to affective intention experience of the traditional aesthetics and experience approach of the aesthetic feeling. The fourth chapter states Zhu Guangqian's prospects of life significance and ponderation of imaginal thinking in his later years.

第一章论述传统文化的生命关怀构成朱光潜传统美学思想研究坚实的精神基础和心理支持,独特地发现了朱光潜与桐城文论的深刻联系;第二章论述朱光潜以情趣为理论支点、移情为理论核心、人生艺术化为理论归宿对传统美学审美精神的体认,深入地探析了朱光潜移情思想的传统文化底蕴和中西融合的困境;第三章论述朱光潜对传统美学情感意向性体验和审美感兴体验方式的认同;第四章论述朱光潜晚年对传统美学人生意蕴的展望和形象思维方式的沉思。

The aesth etic aetivity should become the most basic thing of the human life activity tota lly and a kind of motive force source that mankind creats for oneself and push l ife forward and upward in the course of the long life evolution.

而生命美学之所以一再强调,对于超越必然的自由即自由的主观性、超越性的考察,也正是因为它是美学之为美学所必须面对的当代问题,也正是生命美学得以诞生的

Since Gustav Theodor Fechner,aesthetic as a branch of philosophy for a long time was transfered from philosophy to science gradually.

美学长期隶属于哲学,在费希纳之后,美学逐渐由哲学走向科学,但这一转向并没有给美学带来整体上的突破。

Since Gustav Theodor Fechner,aesthetic as a branch ofphilosophy for a long time was transfered from philosophy toscience gradually.But thetransference had not changed the aesthetic on whole.

美学长期隶属于哲学,在费希纳之后,美学逐渐由哲学走向科学,但这一转向并没有给美学带来整体上的突破。

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