| 克罗齐艺术批评本体论 |
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| 引用本文： | 张敏,马海良.克罗齐艺术批评本体论[J].复旦学报(社会科学版),2002(6):40-44. |
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| 作者姓名： | 张敏 马海良 |
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| 作者单位： | 山西大学,比较文学与世界文学研究所,山西,太原,030006 |
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| 摘 要： | 克罗齐把艺术即直觉归结为感性认识 ,把艺术批评归结为以人生阐释为内容、以知觉判断为形式的理性认识。在他看来 ,认识促成并指导实践。艺术批评从根本上具有一种对于人的活动的建设性意义。正是立足于建设性 ,克罗齐把批评看作确认真知的批判性思维 ,思想成果的历史性积累 ,艺术趣味的成熟化过程。
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| 关 键 词： | 批评 建设性 批判性思维 思想积累 趣味成熟 |
| 文章编号： | 0257-0289(2002)06-040-005 |
| 修稿时间： | 2000年4月9日 |
Croce's Ontology of Art Criticism |
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| Zhang Min,Ma Hai,liang.Croce''''s Ontology of Art Criticism[J].Fudan Journal(Social Sciences Edition),2002(6):40-44. |
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| Authors: | Zhang Min Ma Hai liang |
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| Abstract: | Croce boils down art, i.e. intuition, to perceptual knowledge and art criticism to rational knowledge, which takes interpretation as its content and perceptive judgment as its form. In his view, knowledge facilitates and guides practice. Art criticism is inherently constructive to human activities. Given the constructiveness of criticism, Croce takes criticism as the critical thinking of truth, the historical accumulation of intellectual gains, and the process of maturity of artistic taste. |
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| Keywords: | criticism constructiveness critical thinking intellectual accumulation maturity of interest |
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