What is the aesthetic research practice of aesthetic theory, the relationship between accepted aesth

The concept of "receptional aesthetic" was proposed in 1967 by Hans Robert Jauss, a professor of literature and art at the University of Conzstans in Germany. The core of the aesthetics of reception is to start from the audience, from the acceptance. Yaos believes that a work, even if it is printed as a book, is only half-finished until the reader has read it.

Yao Si pointed out that aesthetic practice should include three aspects: the production of literature, the circulation of literature, and the reception of literature.

Reception is the process by which the reader's aesthetic experience creates the work, which unearths the meaning of the work. A work of art is not eternal, but only historical, which is constantly accepted by readers in different societies and different historical periods. Classics also exist only if they are accepted.

The reader's receptive activity is limited by its own historical conditions and is also limited by the scope of the work, so it cannot be arbitrary. Through the work, the author establishes a dialogue with the reader. When a work appears, there is a level of anticipation, that is, what is expected to be read from the work.

The reader's expectations establish a frame of reference in which the reader's experience interacts with the author's experience.

The level of expectation is determined both by the literary genre and by the reader's experience of having previously read this type of work. The value of a work lies in the fact that it does not align with the reader's level of expectation, creating an aesthetic distance. Analyzing the level of expectation and the actual experience of aesthetic sensibilities, it is also possible to understand the artistic standards of the past.

There are 3 types of recipients: general readers, critics, and writers. In addition, literary historians are also readers, and the process of literary history is the process of acceptance, and any work solves the moral, social, and formal problems left over from previous works, and at the same time raises new questions, which becomes the starting point of subsequent works.

The social function of literature is to cultivate readers' understanding of the world and change readers' social attitudes through reading and circulation.

The reception of art is not a passive consumption, but an aesthetic activity that shows approval and rejection. Aesthetic experience is produced and exerted in this activity, and is the mediator of aesthetic practice.

Accepting the relationship between aesthetics and aesthetic practice is a prerequisite and a necessity. The core of the aesthetics of reception is to start from the audience, from the acceptance. The aesthetic practice is to use the principle of beauty to explain the practical activities.

There are different views on the object of aesthetic research in the history of Western aesthetics, and there are also different views in the aesthetic circles in China. To sum up, there are mainly the following views:

1) The object of aesthetic research is beauty (the essence of beauty, the law of beauty);

2) the object of aesthetic research is art;

3) the object of aesthetic research is beauty and art;

4) The object of aesthetic research is aesthetic relations;

5) the object of aesthetic research is aesthetic experience;

6) The object of aesthetic research is aesthetic activity. Of these views, the first five have some flaws.

The premise of setting the object of aesthetic research as beauty is that there is a kind of "beauty" that is external to human beings and materialized. However, according to our current view, there is no such thing as an external, embodied "beauty," and "beauty" is an aesthetic image that is "presented in my mind and seen in external objects," and "beauty" can only exist in aesthetic activities. Therefore, it is theoretically inappropriate to set the object of aesthetic research as "beauty".

Setting the object of aesthetic research as art (including literature) is too narrow on the one hand, and too broad on the other. Artistic (creative and appreciative) activities are aesthetic activities, but aesthetic activities are not limited to artistic activities. In addition to artistic beauty, the field of aesthetic activity also includes natural, social, scientific, and technical beauty.

In the past, it was generally believed that the field of artistic beauty was the largest, but now it seems that the field of natural beauty and social beauty is also very large. If artistic beauty is omnipresent, then natural beauty and social beauty are also omnipresent. Therefore, it is too narrow to set the object of aesthetic research as art.

On the other hand, art contains many levels, in addition to the aesthetic level (ontological level), there is also the level of knowledge, the level of material carriers, the level of economy, the level of technology, and so on. Aesthetics is confined to the study of its aesthetic dimension. Therefore, it is too broad to set the object of aesthetic research as art.

Most people in the domestic aesthetic circles agree that the object of aesthetic research should be set as aesthetic activities. We agree with this premise as well. This assumption reflects the perception that:

It is an indispensable spiritual and cultural activity of mankind, a basic survival activity of mankind, and a basic value demand of human nature. Both of the above-mentioned settings of "aesthetic relationship" and "aesthetic experience" can be included in the setting of "Aesthetic Spine Book Activity" Tanlu. Because "aesthetic relations" are generated in "aesthetic activities".

Detached from aesthetic activity, "aesthetic relations" become an abstract concept without any content. "Aesthetic experience" focuses on the expression of aesthetic activities from the perspective of the subject's psychology (that is, what we usually call "aesthetic sense"). Detached from aesthetic activities, the study of "aesthetic experience" may be limited to the subject's aesthetic psychology and aesthetic taste, and aesthetic research may become purely psychological research, and aesthetics will no longer be aesthetics.

Aesthetics is a discipline that studies the aesthetic relationship between people and the world, that is, the object of aesthetic research is aesthetic activities. Aesthetic activity is a kind of life experience activity of human beings with the image world as the object, and it is a kind of spiritual and cultural activity of human beings.

The object of aesthetic research is beauty itself. In the view of those who hold this view, the problem of aesthetics is not the specific things that are beautiful, but the beauty itself that all beautiful things have in common, the fundamental reason why all beautiful things are beautiful.