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在张扬与压抑之间--浅析审美传达的二重性
引用本文:王衡,刘玉平,李科平.在张扬与压抑之间--浅析审美传达的二重性[J].四川理工学院学报(社会科学版),2006,21(3):95-97.
作者姓名:王衡  刘玉平  李科平
作者单位:西华师范大学,文学院,四川,南充,637002
摘    要:审美传达是审美体验由"胸中之竹"到"手中之竹"的阶段,也是其定型和物化的阶段.在审美传达中,艺术家一方面力图把自己最真切的审美体验一览无余地表达出来,另一方面,审美体验之体验也与其相伴而行,这种体验是对原初体验的修复、甄别和一定程度的理智化,于是它又必然地压抑了审美传达的个性张扬.

关 键 词:审美体验  审美传达  情感  形象化  体验之体验
文章编号:1672-8580(2006)03-0095-03
修稿时间:2005年11月10

On Twoness of Communication of Aesthetic Tasting between Spread and Oppression
WANG Heng,LIU Yu-ping,LI Ke-ping.On Twoness of Communication of Aesthetic Tasting between Spread and Oppression[J].Journal of Sichuau University of Science & Engineering:Social Sciences Edition,2006,21(3):95-97.
Authors:WANG Heng  LIU Yu-ping  LI Ke-ping
Abstract:Aesthetic communication is a phase where aesthetic experience froms "a bamboo in the bosom" to "a bamboo in the hand", and is also a phase of which aesthetic experience finalize the design and turn into artwork. On the one hand, artists try their best to express the best of all their vivid aesthetic experience; on the other hand, the experience of aesthetic experiencing follows it. This experience is achieved from the original after repaired, discriminated, and reasonablized to some extent; therefore, it must oppress the individual spread of communication of aesthetic experiencing.
Keywords:aesthetic experience  aesthetic communication  sensibility  visualize  the experience of experiencing  
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