From Contemplation To Engagement

The research object of this thesis is the aesthetic experience theory in the western aesthetics,especially the reconstruction and revival of the aesthetic experience in the contemporary western aesthetics.It mainly analyzes how the moderm connotation of aesthetic experience changes in western contemporary aesthetics,and how the connotations of the "disinterestedness","contemplation" and "form" which the modem aesthetics worship evolve into the connotations of "continuity","engagement" and "interactive" and others which contemporary aesthetics rely on.Then it explores the philosophical roots,realistic basis of these changes,and its influence on aesthetic theory and art theory.Finally,it explores the intrinsic relationship between the connotation of aesthetic experience and the development of contemporary aesthetics.Aesthetic experience is one of the core concepts in modern aesthetics theory.Since the basic connotation of aesthetic experience has been established from Kantian aesthetics,the basic meaning of disinterestedness "disinterestedness","contemplation"and "form" has dominated the field of modern aesthetics theory and even the field of art theory.The research status quo did not change until it came to the beginning of the twentieth century.Different schools of aesthetics,such as pragmatism aesthetics,phenomenology aesthetics and acceptance aesthetics as well as analytical aesthetics,make their multiple interpretations of the aesthetic experience from their own respectively theoretical perspectives on,thus the aesthetic experience has been made an in-depth interpretation.At the same time,it also challenged and questioned the basic connotation of modern aesthetic experience in the aesthetic legitimacy of the monopoly position.In the latter half of the twentieth century,aesthetics has shown a more diversified trend of development,and a variety of aesthetic trends of thought or aesthetic schools emerge in an endless stream,such as Environmental Aesthetics,Somaesthetics and Living Aesthetics,etc.Although there are many differences among these contemporary aesthetic thoughts,their origins or rebellions against modern aesthetics are almost always derived from or manifested in the criticism,reconstruction,abandonment or revival of the concept of "aesthetic experience".In addition,the development of contemporary aesthetics is still facing a new era of the situation and the new aesthetic problems-the development of new media which provides a new opportunity to the contemporary aesthetics.The thesis includes three parts:the introduction,the body and the conclusion.The body of the thesis is divided into five chapters.The introduction part mainly discusses the background and the present situation of the study of aesthetic experience theory and the significance of the research.Chapter One mainly combs the emergence of aesthetic experience in the western aesthetics and the establishment of its basic connotation.Basing on the analysis of the discussions and arguments on the aesthetic experience before Kant,it pointed out that the discussion of the perception of beauty in this period is carried out within a limited range and at a lower level.What they emphasize is not the definition of its concepts,connotation and other issues,but the ways of how to obtain such experience and other peripheral issues.Besides that,aesthetic experience is only regarded as a derivative of"beauty" but not as key elements of defining and analyzing the concept of "beauty".Chapter Two mainly discusses the multi-dimensional deepening of the aesthetic experience theory under the influence of modern philosophical thoughts in the 20th century.Basing on their different needs,pragmatism aesthetics,phenomenological aesthetics and reception aesthetics make their in-depth interpretations respectively on the concept of aesthetic experience by extending the basic connotation of aesthetic experience or analyzing and constructing the mechanism and structure of aesthetic experience,which free themselves from the confinement of the modern aesthetic ideas laid down by Kant's aesthetic thoughts.More importantly,these researches,aiming at the field of art and literature,make the study of aesthetics more specific and meticulous.Chapter Three mainly discusses the criticism and the question of analytical aesthetics on the concept of aesthetic experience.Analytical aesthetics introduces the"language analysis" method into the field of aesthetics,criticizes the basic concept of aesthetics,especially the aesthetic experience,and points out the ambiguity of the aesthetic experience concept and its uselessness in defining art.Thus it thoroughly questions the value,the significance and the legitimacy status of the aesthetic experience in aesthetics.However the analytical aesthetics,overemphasizing on the definition of the concepts and its clarity,ignores the unique characteristics of aesthetics and art itself,especially the aesthetic connotation and experience dimension of aesthetic experience.Chapter Four mainly expounds how the contemporary aesthetics thoughts,basing on their own theoretical demands,reconstruct the connotation of aesthetic experience concepts.Influenced by the pragmatism and aesthetic thoughts,the contemporary aesthetics has restored their concern of the "experience" dimension of aesthetics,and thus makes aesthetic experience concepts get more attention and further development in aesthetics.In Environmental Aesthetics,the "participation" or "intervention" of aesthetic experience has been given unprecedented attention.The Somaesthetics advocated by Richard Shusterman emphasizes the importance of perceived experience,especially physical experience in aesthetics.While living Aesthetics,inheriting the"continuity" of aesthetic experience of Dewey's aesthetic thoughts,not only explores the aesthetic attributes of the daily life field and its aesthetic experience,but also further points out the "functional" and "action orientation" and other dimensions of aesthetic experience.Chapter Five mainly analyzes the inestimable influence of new media on aesthetic activities and aesthetic experience.The media's indirect influence is completely obscured by the characteristics of aesthetic activities,such as"disinterestedness" and "contemplation",for the media is often regarded as a potential factor in aesthetic activities,and modern aesthetics neglects its function by paying too much attention to the aesthetic subject.However,the emergence of new media and its enormous influence make people rethink about the power of the media itself not just the content it carries or the information transmitted,thus the ontological status of the media becomes the growth point of various theoretical forms.The new media,represented by Internet,digital technology and virtual reality technology,creates a new way of perception and aesthetic experience,unprecedentedly challenges the development of contemporary aesthetics,and provides a useful perspective to reexamines the concept of aesthetic experience.The conclusion summarizes and explains the concrete connotation and its dimension of the "engagement" in aesthetic experience.Basing on the analysis of the"participation" and "interaction",embodied in contemporary art and contemporary aesthetics,it points out that "aesthetic engagement" is based on the specific aesthetic feeling,and respond directly to the aesthetic activity in the most prominent and intense moments.It is not to judge or prescribe what is aesthetics and art,but to describe and explain the specific aesthetic phenomenon.