符号表征与“艺术即经验”：杜威审美经验的符号学阐释

Symbolic Representation and “Art as Experience” : A Semiotic Interpretation of Dewey’s Aesthetic Experience

Centering on Dewey’s theory of “art as experience” and from a semiotic perspective, this paper offers an interdisciplinary interpretation of his concept of aesthetic experience. Dewey regards art as the integration and perfection of everyday life experiences, emphasizing that aesthetic experience arises from the dynamic interaction between the subject and the environment, and possesses the characteristics of continuity, integrity, and contextualization. Addressing the issue of “instrumentalization of signs” prevalent in current art education, this paper introduces theories such as Peirce’s theory of the triadic sign relation and Cassirer’s philosophy of symbolic forms, to demonstrate the mediating role of signs in the construction of experience. Through semiotic reconstruction, Dewey's theory of aesthetic experience is further deepened, providing an effective theoretical pathway for breaking through the sign-related predicaments in art education and promoting the return of art to life experiences.

以杜威“艺术即经验”理论为核心，结合符号学视角，本文对其审美经验作出了跨学科阐释。杜威将艺术视为日常生活经验的整合与完满，强调审美经验产生于主体与环境的动态交互过程，并具有延续性、整体性与情境化的特征。针对当前艺术教育中存在的“符号工具化”问题，本文引入皮尔士的符号三元关系理论、卡西尔的符号形式哲学等学说，论证了符号在经验建构中的中介作用。通过符号学重构，杜威的审美经验理论得以进一步深化，为突破艺术教育中的符号困境、推动艺术回归生活经验提供了有效的理论路径。