Pub Date : 2023-02-16DOI: 10.5406/15437809.57.1.03
D. Fenner
Abstract:This article examines the question of to what degree does having an aesthetic experience rely on being prepared to have such an experience. The answer, affirming that preparation is necessary, is offered in three parts: a volitional model, an expectation model, and a receptivity model.
{"title":"Aesthetic Preparation","authors":"D. Fenner","doi":"10.5406/15437809.57.1.03","DOIUrl":"https://doi.org/10.5406/15437809.57.1.03","url":null,"abstract":"Abstract:This article examines the question of to what degree does having an aesthetic experience rely on being prepared to have such an experience. The answer, affirming that preparation is necessary, is offered in three parts: a volitional model, an expectation model, and a receptivity model.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"57 1","pages":"36 - 50"},"PeriodicalIF":0.5,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45774620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-16DOI: 10.5406/15437809.57.1.04
Jie-ae Yu
Abstract:This article discusses the ways in which the practical benefit of poetry, as a source of healing power to reduce distress, is enhanced through incorporating a detailed analysis of literary texts and their sources that relate to the author’s depiction of the human predicament and suggestions for liberation from it. This article focuses on two Romantic poems as case studies, Percy Bysshe Shelley’s “Mutability” (1816) and John Keats’s “Ode on Melancholy” (1820), to highlight an effective way of inspiring students to recognize the poets’ representations of anxiety and their poems’ therapeutic effects. By pointing out the limitations of recent studies promoting the curative power of poetry, the article examines precise literary aspects of the two works, which facilitate the relief from inner affliction for readers as they discuss in detail the concept of affliction in its association with the realities of instability and depression. It suggests a method of providing poetry education that reveals the paradox of suffering and self-remedy and thereby reinforces comprehension.
{"title":"The Practical Education of Poetry: Discovering Pain and Therapeutic Effects in Shelley’s “Mutability” and Keats’s “Ode on Melancholy”","authors":"Jie-ae Yu","doi":"10.5406/15437809.57.1.04","DOIUrl":"https://doi.org/10.5406/15437809.57.1.04","url":null,"abstract":"Abstract:This article discusses the ways in which the practical benefit of poetry, as a source of healing power to reduce distress, is enhanced through incorporating a detailed analysis of literary texts and their sources that relate to the author’s depiction of the human predicament and suggestions for liberation from it. This article focuses on two Romantic poems as case studies, Percy Bysshe Shelley’s “Mutability” (1816) and John Keats’s “Ode on Melancholy” (1820), to highlight an effective way of inspiring students to recognize the poets’ representations of anxiety and their poems’ therapeutic effects. By pointing out the limitations of recent studies promoting the curative power of poetry, the article examines precise literary aspects of the two works, which facilitate the relief from inner affliction for readers as they discuss in detail the concept of affliction in its association with the realities of instability and depression. It suggests a method of providing poetry education that reveals the paradox of suffering and self-remedy and thereby reinforces comprehension.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"57 1","pages":"51 - 73"},"PeriodicalIF":0.5,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45014090","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-16DOI: 10.5406/15437809.57.1.01
J. MacAllister, I. Jovanović, D. Fenner, Jie-ae Yu, Ela Krieger, B. King, Asmita Sarkar, Aileen Blaney
Abstract:In this article, I challenge Simon Critchley’s recent suggestion that tragic art is not morally educational in Aristotle’s analysis and instead argue that it can be inferred from Aristotle that tragic art can morally educate in three main ways: via emotion education, by helping the audience come to understand what matters in life, and by depicting conduct worthy of moral emulation and conduct that is not. Stephen Halliwell’s reading of how catharsis helps the audience of tragedy learn to feel pity and fear appropriately is discussed. Two objections Lear makes to Halliwell’s account are thereafter outlined and responded to. I maintain that for Aristotle, the pleasure proper to tragedy is prompted by an understanding of what matters most in life—not making mistakes that threaten the prosperity of loved ones. I pull the article together by questioning aspects of Christopher Falzon’s reading of Ruben Östlund’s film, Force Majeure. I conclude that the film both exemplifies and critiques Aristotle’s account of moral learning through tragedy.
{"title":"Moral Learning through Tragedy in Aristotle and Force Majeure","authors":"J. MacAllister, I. Jovanović, D. Fenner, Jie-ae Yu, Ela Krieger, B. King, Asmita Sarkar, Aileen Blaney","doi":"10.5406/15437809.57.1.01","DOIUrl":"https://doi.org/10.5406/15437809.57.1.01","url":null,"abstract":"Abstract:In this article, I challenge Simon Critchley’s recent suggestion that tragic art is not morally educational in Aristotle’s analysis and instead argue that it can be inferred from Aristotle that tragic art can morally educate in three main ways: via emotion education, by helping the audience come to understand what matters in life, and by depicting conduct worthy of moral emulation and conduct that is not. Stephen Halliwell’s reading of how catharsis helps the audience of tragedy learn to feel pity and fear appropriately is discussed. Two objections Lear makes to Halliwell’s account are thereafter outlined and responded to. I maintain that for Aristotle, the pleasure proper to tragedy is prompted by an understanding of what matters most in life—not making mistakes that threaten the prosperity of loved ones. I pull the article together by questioning aspects of Christopher Falzon’s reading of Ruben Östlund’s film, Force Majeure. I conclude that the film both exemplifies and critiques Aristotle’s account of moral learning through tragedy.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"57 1","pages":"1 - 119 - 18 - 19 - 35 - 36 - 50 - 51 - 73 - 74 - 84 - 85 - 97 - 98"},"PeriodicalIF":0.5,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41916567","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-03DOI: 10.5406/15437809.56.4.02
R. De Clercq
Abstract:Modern buildings do not easily harmonize with other buildings, regardless of whether the latter are also modern. This often-observed fact has not received a satisfactory explanation. To improve on existing explanations, this article generalizes one of Ortega y Gasset’s observations concerning modern fine art and then develops a metaphysics of styles that is inspired by work in the philosophy of biology. The resulting explanation is that modern architecture is incapable of developing patterns that facilitate harmonizing because such patterns would humanize buildings, and modern architecture is a homeostatic property cluster with a dehumanizing motive at its core.
{"title":"The Dehumanization of Architecture","authors":"R. De Clercq","doi":"10.5406/15437809.56.4.02","DOIUrl":"https://doi.org/10.5406/15437809.56.4.02","url":null,"abstract":"Abstract:Modern buildings do not easily harmonize with other buildings, regardless of whether the latter are also modern. This often-observed fact has not received a satisfactory explanation. To improve on existing explanations, this article generalizes one of Ortega y Gasset’s observations concerning modern fine art and then develops a metaphysics of styles that is inspired by work in the philosophy of biology. The resulting explanation is that modern architecture is incapable of developing patterns that facilitate harmonizing because such patterns would humanize buildings, and modern architecture is a homeostatic property cluster with a dehumanizing motive at its core.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"56 1","pages":"12 - 28"},"PeriodicalIF":0.5,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45586895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-03DOI: 10.5406/15437809.56.4.05
A. Kraus
Abstract:Whereas utopia is the vision of an ideal community, dystopias create the image of a cataclysmic decline of society and environment. This article deals with the construction of personal agency and the analysis of digital simulation that is reflected in an online commercial for a first-person survival horror video game. Agency is understood here as the capacity to act in the virtual environment that is ascribed to the actor by the marketing strategy. Applying approaches from phenomenology, simulation theory, and sound studies, the analysis proceeds in reference to a corresponding educational political agenda. The findings show a certain discrepancy between the more utopian education political rhetoric and the more dystopian construction of personal agency in the video game context, a discrepancy from which specific educational challenges emerge. Finally, even if a case study generally cannot be seen as representative, its results present a direction for the further investigation of virtual reality from the education perspective as suggested by international policies.
{"title":"Pedagogy, Hyperreality, and Agency— To Sound Out Education Effects Ascribed to a Video Game","authors":"A. Kraus","doi":"10.5406/15437809.56.4.05","DOIUrl":"https://doi.org/10.5406/15437809.56.4.05","url":null,"abstract":"Abstract:Whereas utopia is the vision of an ideal community, dystopias create the image of a cataclysmic decline of society and environment. This article deals with the construction of personal agency and the analysis of digital simulation that is reflected in an online commercial for a first-person survival horror video game. Agency is understood here as the capacity to act in the virtual environment that is ascribed to the actor by the marketing strategy. Applying approaches from phenomenology, simulation theory, and sound studies, the analysis proceeds in reference to a corresponding educational political agenda. The findings show a certain discrepancy between the more utopian education political rhetoric and the more dystopian construction of personal agency in the video game context, a discrepancy from which specific educational challenges emerge. Finally, even if a case study generally cannot be seen as representative, its results present a direction for the further investigation of virtual reality from the education perspective as suggested by international policies.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"56 1","pages":"63 - 78"},"PeriodicalIF":0.5,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42201810","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-03DOI: 10.5406/15437809.56.4.06
Jan-Boje Frauen
Abstract:This article argues that the first-person narrator and anti-hero of Anthony Burgess’s famous dystopia is far from being the symbol for human freedom he has traditionally been taken to be. Quite the opposite, he is to be seen as a symbol for human “self-imposed nonage” at every point of the novel: from his alleged rebellion to his farewell to rape and aggression in the final chapter. All of his apparent acts of freedom are determined by the dynamic interplay of biological disposition and political exploitation. Burgess’s theory of freedom, however, is more sophisticated than Alex’s “turnspit freedom.” It is displayed in two minor characters, F. Alexander and the prison chaplain, modelled on Burgess and his cousin the Catholic Archbishop George Dwyer, respectively, who display “political awareness” that leads to decisions based on informed judgment.
{"title":"Turnspits and Other Malenky Machines: Laziness and Cowardice in Burgess’s","authors":"Jan-Boje Frauen","doi":"10.5406/15437809.56.4.06","DOIUrl":"https://doi.org/10.5406/15437809.56.4.06","url":null,"abstract":"Abstract:This article argues that the first-person narrator and anti-hero of Anthony Burgess’s famous dystopia is far from being the symbol for human freedom he has traditionally been taken to be. Quite the opposite, he is to be seen as a symbol for human “self-imposed nonage” at every point of the novel: from his alleged rebellion to his farewell to rape and aggression in the final chapter. All of his apparent acts of freedom are determined by the dynamic interplay of biological disposition and political exploitation. Burgess’s theory of freedom, however, is more sophisticated than Alex’s “turnspit freedom.” It is displayed in two minor characters, F. Alexander and the prison chaplain, modelled on Burgess and his cousin the Catholic Archbishop George Dwyer, respectively, who display “political awareness” that leads to decisions based on informed judgment.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"56 1","pages":"79 - 96"},"PeriodicalIF":0.5,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49307801","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-03DOI: 10.5406/15437809.56.4.01
S. K. Wertz
Abstract:In speaking of his analyses, George Herbert Mead (1863– 1931) announces: “It is behavioristic where the approach to experience is made through conduct.” He turns this approach to the practice of the arts and the aesthetic experience. His approach consists of an analysis of gestures and attitudes as the beginning of acts that we bring with us to the activities in which we are engaged. A gesture would be, for example, offering someone a chair who has entered a room. Usually gestures and their responses form a conversation, in this case, acceptance or rejection of the offer. The attitude behind the offer would be generosity and friendliness—a sign of welcome. Within music, “a temporal dimension as that of the melody, or recognition of the notes and their distance from each other in the scale, and our appreciation of these as actually affected by the beginning of our response to the later notes, as when we are expecting a certain sort of ending . . . . It is that attitude that gives the character of our appreciation of all extended musical compositions.” Instead of the part–whole understanding of the arts, he argues for a whole–part relationship within a social context of the actions that make up a performance or object. How far will this thesis take us? I explore answers to this question.
{"title":"G. H. Mead: Socially Structured Aesthetic Experiences","authors":"S. K. Wertz","doi":"10.5406/15437809.56.4.01","DOIUrl":"https://doi.org/10.5406/15437809.56.4.01","url":null,"abstract":"Abstract:In speaking of his analyses, George Herbert Mead (1863– 1931) announces: “It is behavioristic where the approach to experience is made through conduct.” He turns this approach to the practice of the arts and the aesthetic experience. His approach consists of an analysis of gestures and attitudes as the beginning of acts that we bring with us to the activities in which we are engaged. A gesture would be, for example, offering someone a chair who has entered a room. Usually gestures and their responses form a conversation, in this case, acceptance or rejection of the offer. The attitude behind the offer would be generosity and friendliness—a sign of welcome. Within music, “a temporal dimension as that of the melody, or recognition of the notes and their distance from each other in the scale, and our appreciation of these as actually affected by the beginning of our response to the later notes, as when we are expecting a certain sort of ending . . . . It is that attitude that gives the character of our appreciation of all extended musical compositions.” Instead of the part–whole understanding of the arts, he argues for a whole–part relationship within a social context of the actions that make up a performance or object. How far will this thesis take us? I explore answers to this question.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"56 1","pages":"1 - 11"},"PeriodicalIF":0.5,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42671171","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-03DOI: 10.5406/15437809.56.4.03
Yuchen Guo
Abstract:Although many actors report experiencing genuine emotions befitting a specific character’s circumstances, the actors themselves are neither their characters nor in their characters’ circumstances. Moreover, it seems that if our circumstances do not afford certain emotions, we will not experience these emotions. Thus, actors experience “a paradox of onstage emotion.” This article aims to provide a solution to this paradox. I argue that actors’ onstage emotions are repeatable, controllable, scripted, and impersonal; however, everyday genuine emotions are neither repeatable nor controllable nor scripted and are always personal. Therefore, onstage emotions are not genuine emotions. I then argue that imagination is a repeatable and controllable mental state and that it can be scripted and impersonal. Finally, given that imagination is seen as a re-creation of occurrent experiences, I conclude that onstage emotions are not genuine emotions but rather are imaginative emotions—a re-creation of genuine emotions, and the solution of imaginative emotions better accounts for actors’ onstage performance.
{"title":"Onstage Emotion as Imagination","authors":"Yuchen Guo","doi":"10.5406/15437809.56.4.03","DOIUrl":"https://doi.org/10.5406/15437809.56.4.03","url":null,"abstract":"Abstract:Although many actors report experiencing genuine emotions befitting a specific character’s circumstances, the actors themselves are neither their characters nor in their characters’ circumstances. Moreover, it seems that if our circumstances do not afford certain emotions, we will not experience these emotions. Thus, actors experience “a paradox of onstage emotion.” This article aims to provide a solution to this paradox. I argue that actors’ onstage emotions are repeatable, controllable, scripted, and impersonal; however, everyday genuine emotions are neither repeatable nor controllable nor scripted and are always personal. Therefore, onstage emotions are not genuine emotions. I then argue that imagination is a repeatable and controllable mental state and that it can be scripted and impersonal. Finally, given that imagination is seen as a re-creation of occurrent experiences, I conclude that onstage emotions are not genuine emotions but rather are imaginative emotions—a re-creation of genuine emotions, and the solution of imaginative emotions better accounts for actors’ onstage performance.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"56 1","pages":"29 - 46"},"PeriodicalIF":0.5,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46571614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-03DOI: 10.5406/15437809.56.4.04
A. Langer
Abstract:As new digital technologies, consumer demand, and social issues such as COVID-19 render workplaces increasingly data-centric, employers will require culturally and technologically adept workers who can utilize creativity in every stage of the production process. To prepare students for this demand, institutions of higher education must establish flexible programs that provide professional or technical curricula combined with a liberal arts education that fosters students’ abilities to build imaginations beyond conventionally accepted norms. The capacity for creative fantasy intersects with cognitive maturity and higher-order thinking and thus can be measured using models of adult development. Schools should develop knowledge platforms that can first assess a student’s maturity stage and then design a personalized liberal and professional education plan that maximizes their creative abilities. This article therefore engages adult development theory to map possible trajectories toward students’ constructive use of innovative fantasy and to address ways educational institutions can reorient their approaches.
{"title":"Fantasy and Adult Development","authors":"A. Langer","doi":"10.5406/15437809.56.4.04","DOIUrl":"https://doi.org/10.5406/15437809.56.4.04","url":null,"abstract":"Abstract:As new digital technologies, consumer demand, and social issues such as COVID-19 render workplaces increasingly data-centric, employers will require culturally and technologically adept workers who can utilize creativity in every stage of the production process. To prepare students for this demand, institutions of higher education must establish flexible programs that provide professional or technical curricula combined with a liberal arts education that fosters students’ abilities to build imaginations beyond conventionally accepted norms. The capacity for creative fantasy intersects with cognitive maturity and higher-order thinking and thus can be measured using models of adult development. Schools should develop knowledge platforms that can first assess a student’s maturity stage and then design a personalized liberal and professional education plan that maximizes their creative abilities. This article therefore engages adult development theory to map possible trajectories toward students’ constructive use of innovative fantasy and to address ways educational institutions can reorient their approaches.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"56 1","pages":"47 - 62"},"PeriodicalIF":0.5,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49148852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-03DOI: 10.5406/15437809.56.4.07
Fanjun Meng, Yushui Liang
Abstract:In the transformation from classical to modern aesthetics, the proposition and exploration of aesthetic experience constitutes one of the major dimensions of various aesthetic problems. Pragmatic aesthetics, phenomenological aesthetics, hermeneutic aesthetics, analytical aesthetics, and new pragmatic aesthetics have comprehensively analyzed and discussed aesthetic experience. Through the construction and deconstruction of aesthetic experience in aesthetic history, the study of the key concept seems to have come to a certain predicament. This is mainly reflected in the fact that the subjective and objective attribute of experience remains unclear, and the material base of aesthetics is not solid enough. In this regard, cognitive neuroscience and anthropology provide new ways to understand aesthetic experience. From the perspective of aesthetic anthropology, the study on aesthetic experience is rooted in a broad field and serves as a solid material basis for its objectification. Cognitive neuroaesthetics explains the psychological mechanism of aesthetic experience. Together, they provide an opportunity for the study on aesthetic experience to enter a new realm. Moreover, the new interpretation of the essence of aesthetic experience will help to improve the theory and practice of aesthetic education.
{"title":"A New Interpretation of the Essence of Aesthetic Experience: From the Perspective of Cognitive Neuroaesthetics and Aesthetic Anthropology","authors":"Fanjun Meng, Yushui Liang","doi":"10.5406/15437809.56.4.07","DOIUrl":"https://doi.org/10.5406/15437809.56.4.07","url":null,"abstract":"Abstract:In the transformation from classical to modern aesthetics, the proposition and exploration of aesthetic experience constitutes one of the major dimensions of various aesthetic problems. Pragmatic aesthetics, phenomenological aesthetics, hermeneutic aesthetics, analytical aesthetics, and new pragmatic aesthetics have comprehensively analyzed and discussed aesthetic experience. Through the construction and deconstruction of aesthetic experience in aesthetic history, the study of the key concept seems to have come to a certain predicament. This is mainly reflected in the fact that the subjective and objective attribute of experience remains unclear, and the material base of aesthetics is not solid enough. In this regard, cognitive neuroscience and anthropology provide new ways to understand aesthetic experience. From the perspective of aesthetic anthropology, the study on aesthetic experience is rooted in a broad field and serves as a solid material basis for its objectification. Cognitive neuroaesthetics explains the psychological mechanism of aesthetic experience. Together, they provide an opportunity for the study on aesthetic experience to enter a new realm. Moreover, the new interpretation of the essence of aesthetic experience will help to improve the theory and practice of aesthetic education.","PeriodicalId":45866,"journal":{"name":"JOURNAL OF AESTHETIC EDUCATION","volume":"56 1","pages":"120 - 97"},"PeriodicalIF":0.5,"publicationDate":"2022-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45726769","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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