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“He Who Sees Does Not Desire to Imagine”: The Shifting Role of Art and Aesthetic Observation in Medieval Franciscan Theological Discourse in the Fourteenth Century

机译:“看到的人不希望想象”:第十四世纪中世纪中世纪中世纪中世纪的神学话语中的艺术和审美观察的嬗变和审美观察

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摘要

In the thirteenth century, following Neoplatonic and Patristic trends, art and aesthetic experience were still treated as symbolic, as “vestiges” or “echoes” of the divine that lead us to it. However, in the early fourteenth century, attitudes to concrete sensory/aesthetic experience begin to shift and theologians adopted the model of concrete phenomenal observation of sensory experience. Concrete sensory-aesthetic experience is endowed with a much higher value: seeing something is not the same as imagining it, recalling it, or thinking about it. This new approach results in some heterodox views about our phenomenal experience and debates about the exact status of “intentional” (phenomenal) appearance. These debates lead to profound observations about the nature of aesthetic-sensory experience of art objects and a re-evaluation of the status of the artistic image, which is now seen as much more than the platonic “copy of a copy”. In other words, starting with the fourteenth century, theologians start to pay attention to concrete aesthetic (sensory) experience and use their observations to make conclusions about various cognitive and perceptual issues that could be relevant to a discussion of the divine. That is, quite separately from theoretical theological observations, art and aesthetic experience now provide independent approaches to the divine or spiritual via the experience of aesthetic wonder as a starting point. It is now our concrete experience of sensory and aesthetic objects that starts the train of thought, at times leading to some unorthodox conclusions that contradict the doctrine (such as the skeptical point of view). The intellectual shift in treating sensory and artistic objects in the fourteenth century invites some parallels with the current discussions of the experience of aesthetic wonder in “post-secular” thought.
机译:在十三世纪,介绍奈塞特音和私人趋势,艺术和审美经验仍被视为象征性的,作为导致我们的神圣的“遗迹”或“回声”。然而,在第十四世纪初,对具体感官/美学经验的态度开始转移,神学家采用了具体现象观察的感官经验模型。具体的感官 - 审美经验具有更高的价值:看到一些东西与想象它,回顾它或考虑它。这种新方法会导致一些关于我们的现象经验和关于“故意”(现象)外观的确切状况的争论的异教徒的观点。这些辩论导致了关于艺术对象的美学感官体验的性质的深刻观察和对艺术形象的状态的重新评估,现在看起来比柏拉图的“副本副本”多得多。换句话说,从十四世纪开始,神学家开始关注具体的美学(感官)经验,并利用他们的观察来结论,关于各种认知和感知问题,可能与对神圣的讨论有关。也就是说,与理论神学观察分开,艺术和审美经历现在通过审美奇迹的经验作为起点,为神圣或精神提供独立的方法。现在是我们开始思想训练的感官和美学物体的具体体验,有时会导致一些非正统的结论,与学说相矛盾(如持怀疑态度)。在十四世纪治疗感官和艺术物品的智力转变邀请一些平方与当前对“后世后”思想中的审美奇迹经验的讨论。

著录项

  • 作者

    Oleg Bychkov;

  • 作者单位
  • 年度 2019
  • 总页数
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 入库时间 2022-08-20 22:17:31

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