Cross-cultural Context Of Aesthetic Research

The emergence of globalization makes the growing cross-cultural activities, cross-cultural aesthetic phenomenon become an important aesthetic phenomenon. Day-to-day experience, the way artists use the arts will be familiar with the strange things, while in cross-cultural aesthetic activities, artists are faced with a large number of folk music have been different. Kubin this in cross-cultural activities, the main day-to-day experience with the history of those who hold different views to things perceived by the experience of difference as "different."Appeared in cross-cultural communication cross-cultural aesthetic phenomenon, reflects the formation of human multi-civilization, history, culture development and psychological maturity, knowledge of things opening up, and aesthetic taste of the rich aesthetic capabilities. The realization of cross-cultural aesthetic hegemony may be a breakthrough, ideological domination and so on, showing a full characterization of cross-cultural aesthetic of the "differences" in the "difference" and "pluralistic" contained in the United States, inspiring people to think the United States arising from "non - a "way, so as to promote human and cultural freedom, equality of the exchange and communication. In the context of globalization, adhere to dialogue between different cultures is especially important, cross-cultural aesthetic also have more practical significance. These are the first chapter.When the main face of day-to-day self, and history are not familiar with the experience of the object, the initial feeling was "amazing." This amazing sense of curiosity than the average day-to-day experience more easily arouse our aesthetic interest aroused by our desire to create. However, in the process of aesthetic occurred, the main cause in the face of this easy to aesthetic interest we aroused the aesthetic potential of our "differences" arising from the creative impulse is transformed into the ultimate beauty of all; on the beauty of the final forming, cross-cultural Aesthetic activities and aesthetic activities in general for the requirements of the subject and the object What is the difference? Chapter II, "the activities of cross-cultural aesthetic of the subject and the object" of the problem. Paper first discusses the activities of cross-cultural aesthetic psychological set of the main impact. Aesthetic result of the psychological set of creation and aesthetic perception of mental inertia, so that difficult to create a new aesthetic concept of aesthetic value. The activities of cross-cultural aesthetic, aesthetic potential psychological impact will be more prominent. The main face of the more familiar with the aesthetic object, aesthetic set encountered psychological impact of the more strongly. Cross-cultural aesthetic activities, in the face of alien object, only to break the existing set of aesthetic psychology, a new aesthetic experience to adjust and enrich the aesthetic experience of the original, to achieve aesthetic transcendence, aesthetic transcendence and the realization of the need for writers main continuously optimized to renounce its own aesthetic psychological structure. Papers the use of Piaget's Genetic Epistemology in response to, the principle of assimilation analysis of the "differences" in how to optimize the aesthetic structure of aesthetic psychology. The face of "differences" only works if the assimilation mechanism, the main will be "different" as a tool for self-expression, resulting in a foreign land to become self-image at the time of a cultural project, "he" in phantom, to become the main aesthetic self-examining, self - reflection, self-imagined and self-written manner, and ultimately point to the cultural "Other" space of imagination and ideology. The 13th century and 19th century Western thought in China, have occurred in this situation. If the cognitive structure in response to completely dominant, the main could only indulge in "different" exotic fresh, the loss of self-consciousness, the formation of "differences" of a simple imitation of the past can not mobilize the main object of aesthetic experience will be incorporated into the aesthetic perception areas, but also can not comply with the main object and establish a new aesthetic psychological schema. Loti, "the final days of Beijing" is a foreign land full of folk music will be unfamiliar with the perceived ability of the main result of shielding out. Conform to and assimilation will lead to an imbalance between the cross-cultural aesthetic beauty of the loss of activity. Only when the combination of assimilation and responsive to ensure that they can maintain a creative tension to achieve an aesthetic beyond the main body to produce beauty. How to assimilate and adapt to maintain a sense of beauty in favor of the tension generated is in a sense when the main difference between the face of the aesthetic attitude. Segalen French writer of classical Chinese texts for "Utopia in mind," shows that the main body of the rewrite of "differences in the United States" the respect, longing to explore the aesthetic psychology makes the main set to break in and conform to maintain the tension between assimilation, balance, and thus was beyond the aesthetic. Paper then discusses the activities of cross-cultural aesthetic creation the main motivation for the aesthetic impact. Motivation literature constitutes a start-up took place with the aesthetic state. Literature occurred in the surface of motivation is a lack of motivation, and the activities of cross-cultural aesthetic of this lack of specificity of the decision of the most obvious motive. However, the lack of a single sense of motivation caused by the loss, "Mandeville's Travels" is purely based on the author's lack of motivation and satisfaction and have a curious fascination, unable to go to "differences" within the Chinese to grasp the art of Chinese art the spirit of the kernel, unable to establish the aesthetic associated with the object. To overcome the lack of motivation caused by the loss of the aesthetic needs of the main literary works to mobilize the underlying motivation that is the main aesthetic personality structure Psychological adjustment, one of the most important adjustment is based on inter-subjectivity, and optimize the structure of their own aesthetic psychology, in the face of any kind " differences "object, the writers were to start another life for the lives of the main subject of dialogue, exchanges are different in their own unique and rich soul," presented by the image of the original words pour out."Finally, this chapter discusses the thesis of the aesthetic object itself, the potential impact of cross-cultural aesthetic activity. The activities of cross-cultural aesthetic of any exotic folk music is not to become aesthetic objects. Some exotic folk music, while having the strange experience in day-to-day vividly clear external image, but its historical and cultural connotation and the main factors that can not reach a certain resonance; some of the structure of the object of its own because it is difficult to draw the main comprehensive grasp, thus affecting the selection of beauty. Pierre Loti's "Last Days Beijing" reflects the activities of cross-cultural aesthetic choice on the aesthetic object is directly related to the acquisition of beauty. 2008 Nobel laureate in literature,unique culture of exotic description shows that the self-contained aesthetic object, that object has its own independent aesthetic value and the law constitutes a cross-cultural aesthetic object of aesthetic potential of the activities of the most critical content.The activities of cross-cultural aesthetic beauty of the ultimate access to or dependent on host-guest relationship between the aesthetic construct. Papers focus on Chapter III of this issue. Paper first discusses how cross-cultural aesthetic aesthetic freedom to establish a relationship that in the Ternary Cheng of the universe, or the mysterious Segalen principles of aesthetics, are a dollar and go beyond the binary, from the more widely Horizon inclusive view "different" cultural exchanges, to create a "different from" and even "higher than" "different culture" of both new aesthetic life, so that the relationship between the jump from the aesthetic to a new level of freedom. Paper went on to discuss the "differences" from the aesthetic and cultural context of adjustment. Cross-cultural aesthetic as a great span of time and space away from the aesthetic activities, must be the distance of time and space into the appropriate psychological distance. Psychological distance to deal with the inherent contradictions of "I" and "me" relationship, and Segalen Borges creative and show that the main aesthetic of "distant" and "A Closer Look" is the balance and co-ordinate cross-cultural aesthetic in the host-guest suitable distance between grasp. Finally this chapter discusses the aesthetic cross-cultural psychology in the restructuring of cultural, aesthetic subject and object does exist between the psychological structure of culture as an intermediary. Its "differences" aesthetic aesthetic activities have an important impact on the establishment of relations. Literature is a rich diversity of the world's compatible, "differences" in the aesthetic structure of the deepening of cultural psychology, not to fill the main differences in experience, to achieve the same, but through a personalized literature, to highlight, emphasize that this "difference" and their communication, access to the beauty of heterogeneity. Maugham, Kafka, Borges and other writers writing is rich with personality differences "sharpening" the "differences" differences, so that truly literary communication between different things.Cross-cultural aesthetic of great practical and literature cross-cultural aesthetic research, in particular, occurred not only from the theory, and full attention should be given writer, text analysis. The first two chapters from the cross-cultural aesthetic of the main aesthetic, the object of the request and the relationship between subject and object to start to explore the areas of construction, the conclusions can not be inclusive of the occurrence of cross-cultural aesthetic rich state, so the fourth chapter to the study of Chinese literature a case - "cross-cultural aesthetic vision of the Hong Kong Literature" to further explore the occurrence of cross-cultural issues related to aesthetics, but also as a reaffirmation of their own cross-cultural aesthetic research ideas.