An Analysis Of Dufrenne’s Phenomenological Aesthetics And The Possibility Of Its Integration With Chinese Aesthetics

With the wide application of phenomenology in the field of aesthetics,the research object and methodology of phenomenology have a profound impact on Chinese and Western aesthetics,and also provide a bridge for the dialogue and exchange between Chinese and Western aesthetics.As the epitome of phenomenological aesthetics,Dufrenne’s phenomenological aesthetics theory is representative.There may be a breakthrough point for in-depth dialogue and exchange between Dufrenne and Chinese aesthetics,which is compatible in many aspects.Based on this,This paper selects Dufrenne’s phenomenological aesthetics theory as the research object,focusing on Dufrenne’s Phenomenological Aesthetics and the possibility of its integration with Chinese aesthetics.This paper is divided into two parts: the first part summarizes Dufrenne’s phenomenological aesthetic theory,obtains two aspects of his aesthetic experience activities: aesthetic object and aesthetic perception,constructs the phenomenological aesthetic theoretical structure of "aesthetic perception aesthetic object" intentional structure,and builds the logical framework of this paper.In this part,this paper mainly takes Dufrenne’s phenomenological method as the guide and his theory of intentionality as the logic of thinking.In the second part,under the logical framework of the above discussion,the author discusses the specific issues of the time-space relationship of aesthetic objects,the aesthetic construction of aesthetic perception,and the unity of subject and object of aesthetic experience in Dufrenne’s phenomenological aesthetics,and explores the possible integration with Chinese aesthetics respectively: Dufrenne’s aesthetic object and the "artistic conception" of Chinese aesthetics both are "The Unity of Time and Space".Dufrenne’s aesthetic perception of aesthetic objects and ZONG Baihua’s creative subject of artistic conception are both expressed as "Aesthetic Direct Presentation".Both Dufrenne’s aesthetic experience and phenomenological interpretation of Chinese aesthetics show a "Special Unity of Subject and Object" relationship: subject depends on(or directly belongs to)object.Dufrenne’s "The Nature" and "Nature" in Chinese aesthetics both play a role as "Ontological Nature".In this part,this paper puts Dufrenne’s Phenomenological Aesthetics and Chinese Aesthetics under the common research topics of Chinese and Western Aesthetics: the relationship between time and space,aesthetic construction,the relationship between subject and object,the view of nature,and seeks the possible accommodation of the two from different angles and levels.To sum up,this paper argues that there are many ways of dialogue between Dufrenne’s Phenomenological Aesthetics and Chinese aesthetics,especially under the phenomenological interpretation,Chinese classical aesthetics has the modern connotation of systematization and theorization,which makes it possible for them to integrate further.Therefore,this paper foresees that with the continuous collision and exchange between Chinese and Western aesthetics,Chinese and Western aesthetics can find a way to promote the development of dialogue in the future,and provide the possibility for deeper dialogue at more levels.However,it should be noted that in the process of communication between China and the west,we should always maintain the uniqueness of our own cultural thoughts.We can’t simply "take" the foreign western thoughts,and the various theories are not simply arranged and mixed.Instead,we should integrate them,always base on our traditional ideology and culture,and maintain the integrity and unity of the discourse system,so as to truly achieve common development.