| Summary: | 碩士 === 臺北市立師範學院 === 視覺藝術研究所 === 93 === The virtue of painting is to let people fling into its aesthetic effect. The most important part that phenomenology allows experience to show is what experience is. In this essay I’m going to focus on the critical analysis of Dufrenne’s “Painting, Forever”. I’ll try to ascertain how phenomenology describes the seer’s aesthetic experience and also try to know what has been said about the painter’s creative gesture.
When we are talking about art, I just wonder what kind of theories can interpret it properly? In my essay, Chapter Ⅰ is to explore how some art theories try to interpret art and what are their benefits and defects. And I’ll point out what kind of featured phenomenology has when it deals with art. In this essay I don’t directly discuss how “Painting, Forever” uses the phenomenological method to disclose painting’s thing-in-itself. At first I’ll show the possible correlation between phenomenology and aesthetic experience in the spectator’s viewpoint. And Chapter Ⅱ is to show the similarities and dissimilarities between the purposes of aesthetic experience and phenomenology. Moreover, I’ll propose similarities and dissimilarities between the attitudes of aesthetic experience and phenomenology. My purpose is to let two terms have more dialogical space.
Because “Painting, Forever” had been written after The Phenomenology of Aesthetic Experience, I must understand its fruitful results first and this task will present it in Chapter Ⅲ.
“Painting, Forever” has the most important insights and thorough issues when discussing painting, so my Chapter Ⅳ will go through theses by The Phenomenology of Aesthetic Experience to explain the treatment “Painting, Forever”. In Chapter Ⅴ I’ll conclude the task I have fulfilled. At the end besides the part of what I have mentioned here, I’ll also promote some suggestions of how to develop the phenomenology in Taiwan’s art field.
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