题目内容
Aesthetic thought of a distinctively modern bent emerged during the 18th century. The western philosophers and critics of this time (31) much attention to such matters as natural beauty, the sublime, and representation— a trend (32) the central position they had given to the philosophy of nature. Since that time, however, the philosophy of art has become ever more (33) and has begun to (34) the philosophy of nature. Various issues (35) to the philosophy of art have had a (36) impact on the orientation of 20th-century aesthetics. (37) among these are problems relating to the theory of art as form and (38) the distinction between representation and expression. Still another far-reaching question has to do with the (39) of art. Two opposing theoretical positions have been (40) on this issue: one holds that art and its appreciation are a means to some recognized moral good, (41) the other maintains that art is intrinsically valuable and is an end in itself. Underlying this whole issue is the concept of taste, one of the basic (42) of aesthetics. In recent years there has also been an increasing preoccupation with art as the prime object of (43) judgment. Corresponding to the trend in contemporary aesthetic thought, critics have followed (44) of two approaches. In one, criticism is restricted to the analysis and interpretation of the work of art. (45) it is devoted to articulating the response to the aesthetic object and to (46) a particular way of perceiving it.Over the years, aesthetics has developed into a broad field of knowledge and inquiry. The concerns of contemporary aesthetics include such (47) problems as the nature of style and its aesthetic significance; the relation of aesthetic judgment to culture; the (48) of a history of art; the (49) of Freudian psychology and other forms of psychological study to criticism; and the place of aesthetic judgment in practical (50) in the conduct of everyday affairs. （44）（）
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Aesthetic thought of a distinctively modern bent emerged during the 18th century. The western philosophers and critics of this time (31) much attention to such matters as natural beauty, the sublime, and representation— a trend (32) the central position they had given to the philosophy of nature. Since that time, however, the philosophy of art has become ever more (33) and has begun to (34) the philosophy of nature. Various issues (35) to the philosophy of art have had a (36) impact on the orientation of 20th-century aesthetics. (37) among these are problems relating to the theory of art as form and (38) the distinction between representation and expression. Still another far-reaching question has to do with the (39) of art. Two opposing theoretical positions have been (40) on this issue: one holds that art and its appreciation are a means to some recognized moral good, (41) the other maintains that art is intrinsically valuable and is an end in itself. Underlying this whole issue is the concept of taste, one of the basic (42) of aesthetics. In recent years there has also been an increasing preoccupation with art as the prime object of (43) judgment. Corresponding to the trend in contemporary aesthetic thought, critics have followed (44) of two approaches. In one, criticism is restricted to the analysis and interpretation of the work of art. (45) it is devoted to articulating the response to the aesthetic object and to (46) a particular way of perceiving it.Over the years, aesthetics has developed into a broad field of knowledge and inquiry. The concerns of contemporary aesthetics include such (47) problems as the nature of style and its aesthetic significance; the relation of aesthetic judgment to culture; the (48) of a history of art; the (49) of Freudian psychology and other forms of psychological study to criticism; and the place of aesthetic judgment in practical (50) in the conduct of everyday affairs. （49）（）
Aesthetic thought of a distinctively modern bent emerged during the 18th century. The western philosophers and critics of this time (31) much attention to such matters as natural beauty, the sublime, and representation— a trend (32) the central position they had given to the philosophy of nature. Since that time, however, the philosophy of art has become ever more (33) and has begun to (34) the philosophy of nature. Various issues (35) to the philosophy of art have had a (36) impact on the orientation of 20th-century aesthetics. (37) among these are problems relating to the theory of art as form and (38) the distinction between representation and expression. Still another far-reaching question has to do with the (39) of art. Two opposing theoretical positions have been (40) on this issue: one holds that art and its appreciation are a means to some recognized moral good, (41) the other maintains that art is intrinsically valuable and is an end in itself. Underlying this whole issue is the concept of taste, one of the basic (42) of aesthetics. In recent years there has also been an increasing preoccupation with art as the prime object of (43) judgment. Corresponding to the trend in contemporary aesthetic thought, critics have followed (44) of two approaches. In one, criticism is restricted to the analysis and interpretation of the work of art. (45) it is devoted to articulating the response to the aesthetic object and to (46) a particular way of perceiving it.Over the years, aesthetics has developed into a broad field of knowledge and inquiry. The concerns of contemporary aesthetics include such (47) problems as the nature of style and its aesthetic significance; the relation of aesthetic judgment to culture; the (48) of a history of art; the (49) of Freudian psychology and other forms of psychological study to criticism; and the place of aesthetic judgment in practical (50) in the conduct of everyday affairs. （48）（）
Aesthetic thought of a distinctively modern bent emerged during the 18th century. The western philosophers and critics of this time (31) much attention to such matters as natural beauty, the sublime, and representation— a trend (32) the central position they had given to the philosophy of nature. Since that time, however, the philosophy of art has become ever more (33) and has begun to (34) the philosophy of nature. Various issues (35) to the philosophy of art have had a (36) impact on the orientation of 20th-century aesthetics. (37) among these are problems relating to the theory of art as form and (38) the distinction between representation and expression. Still another far-reaching question has to do with the (39) of art. Two opposing theoretical positions have been (40) on this issue: one holds that art and its appreciation are a means to some recognized moral good, (41) the other maintains that art is intrinsically valuable and is an end in itself. Underlying this whole issue is the concept of taste, one of the basic (42) of aesthetics. In recent years there has also been an increasing preoccupation with art as the prime object of (43) judgment. Corresponding to the trend in contemporary aesthetic thought, critics have followed (44) of two approaches. In one, criticism is restricted to the analysis and interpretation of the work of art. (45) it is devoted to articulating the response to the aesthetic object and to (46) a particular way of perceiving it.Over the years, aesthetics has developed into a broad field of knowledge and inquiry. The concerns of contemporary aesthetics include such (47) problems as the nature of style and its aesthetic significance; the relation of aesthetic judgment to culture; the (48) of a history of art; the (49) of Freudian psychology and other forms of psychological study to criticism; and the place of aesthetic judgment in practical (50) in the conduct of everyday affairs. （42）（）
Aesthetic thought of a distinctively modern bent emerged during the 18th century. The western philosophers and critics of this time (31) much attention to such matters as natural beauty, the sublime, and representation— a trend (32) the central position they had given to the philosophy of nature. Since that time, however, the philosophy of art has become ever more (33) and has begun to (34) the philosophy of nature. Various issues (35) to the philosophy of art have had a (36) impact on the orientation of 20th-century aesthetics. (37) among these are problems relating to the theory of art as form and (38) the distinction between representation and expression. Still another far-reaching question has to do with the (39) of art. Two opposing theoretical positions have been (40) on this issue: one holds that art and its appreciation are a means to some recognized moral good, (41) the other maintains that art is intrinsically valuable and is an end in itself. Underlying this whole issue is the concept of taste, one of the basic (42) of aesthetics. In recent years there has also been an increasing preoccupation with art as the prime object of (43) judgment. Corresponding to the trend in contemporary aesthetic thought, critics have followed (44) of two approaches. In one, criticism is restricted to the analysis and interpretation of the work of art. (45) it is devoted to articulating the response to the aesthetic object and to (46) a particular way of perceiving it.Over the years, aesthetics has developed into a broad field of knowledge and inquiry. The concerns of contemporary aesthetics include such (47) problems as the nature of style and its aesthetic significance; the relation of aesthetic judgment to culture; the (48) of a history of art; the (49) of Freudian psychology and other forms of psychological study to criticism; and the place of aesthetic judgment in practical (50) in the conduct of everyday affairs. （47）（）
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