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  3. Two related paradoxes also emerge from the same basic conception of the aesthetic experience. The first was given extended consi

Two related paradoxes also emerge from the same basic conception of the aesthetic experience. The first was given extended consi

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问题      Two related paradoxes also emerge from the same basic conception of the aesthetic experience. The first was given extended consideration by Hegel, who argued roughly as follows: our sensuous attention and that gives to the work of art its peculiar individuality. Because it addresses itself to our sensory appreciation, the work of art is essentially concrete, to be understood by an act of perception rather than by a process of discursive thought.
     At the same time, our understanding of the work of art is in part intellectual; we seek in it a conceptual content, which it presents to us in the form of an idea. One purpose of critical interpretation is to expound this idea in discursive form—to give the equivalent of the content of the work of art in another, nonsensuous idiom. But criticism can never succeed in this task, for, by separating the content from the particular form, it abolishes its individuality. The content presented then ceases to be the exact content of that work of art. In losing its individuality, the content loses its aesthetic reality; it thus ceases to be a reason for attending to the particular work and that first attracted our critical attention. It cannot be this that we saw in the original work and that explained its power over us.
     For this content, displayed in the discursive idiom of the critical intellect, is no more than a husk, a discarded relic of a meaning that eluded us in the act of seizing it. If the content is to be the true object of aesthetic interest, it must remain wedded to its individuality: it cannot be detached from its "sensuous embodiment" without being detached from itself. Content is, therefore, inseparable from form and form in turn inseparable from content. (It is the form that it is only by virtue of the content that it embodies.)
     Hegel’s argument is the archetype of many, all aimed at showing that it is both necessary to distinguish form from content and also impossible to do so. This paradox may be resolved by rejecting either of its premises, but, as with Kant’s antinomy, neither premise seems dispensable. To suppose that content and form are inseparable is, in effect, to dismiss both ideas as illusory, since no two works of art can then share either a content or a form—the form being definitive of each work’s individuality.
     In this case, no one could ever justify his interest in a work of art by reference to its meaning. The intensity of aesthetic interest becomes a puzzling, and ultimately inexplicable, feature of our mental life. If, on the other hand, we insist that content and form are separable, we shall never be able to find, through a study of content, the reason for attending to the particular work of art that intrigues us. Every work of art stands proxy for its paraphrase. An impassable gap then opens between aesthetic experience and its ground, and the claim that aesthetic experience is intrinsically valuable is thrown in doubt.  
What is the passage mainly about?
选项 A、The sensuous appreciation of art.
B、The basic conception of the aesthetic experience.
C、How to appreciate the work of art.
D、The relationship between form and content of the work of art.
答案D
解析 综合判断题 。通读全文可知，本文主要是黑格尔对艺术的内容和形式两者关系的论述。D “艺术作品的形式与内容的关系”与之符合，故为正确答案。
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