Theories of the value of art are of two kinds, which we may call extrinsic and intrinsic. The first regards art and the appreciation of art as means to some recognized moral good, while the second regards them as valuable not instrumentally but as objects unto themselves. It is characteristic of extrinsic theories to locate the value of art in its effects on the person who appreciates it. Art is held to be a form of education, perhaps an education of the emotions. In this case, it becomes an open question whether there might not be some more effective means to the same result. (46) Alternatively, one may attribute a negative value to art, as Plato did in his Republic, arguing that art has a corrupting or diseducative effect on those exposed to it.

　　The extrinsic approach, adopted in modern times by Leo Tolstoy in What Is Art in 1896, has seldom seemed wholly satisfactory. (47)Philosophers have constantly sought for a value in aesthetic experience that is unique to it and that, therefore, could not be obtained from any other source. The extreme version of this intrinsic approach is that associated with Walter Pater, Oscar Wilde, and the French Symbolists, and summarized in the slogan “art for art’s sake”. Such thinkers and writers believe that art is not only an end in itself but also a sufficient justification of itself. (48)They also hold that in order to understand art as it should be understood, it is necessary to put aside all interests other than an interest in the work itself.

　　Between those two extreme views there lies, once again, a host of intermediate positions. (49)We believe, for example, that works of art must be appreciated for their own sake, but that, in the act of appreciation, we gain from them something that is of independent value.(50)Thus a joke is laughed at for its own sake, even though there is an independent value in laughter, which lightens our lives by taking us momentarily outside ourselves. Why should not something similar be said of works of art, many of which aspire to be amusing in just the way that good jokes are?

　　答案

　　46.或者，人們可能會(huì)認(rèn)為藝術(shù)具有負(fù)面的影響，像柏拉圖在《理想國(guó)》一書(shū)中所認(rèn)為的那樣，藝術(shù)會(huì)影響那些接觸它的人，使其墮落，或起不到教化作用。

　　47.哲學(xué)家們一直在不懈地探索審美體驗(yàn)中的價(jià)值。這種價(jià)值是獨(dú)一無(wú)二的，因此不能從別處獲得。

　　48.他們還相信，為了以理解藝術(shù)的方式去理解藝術(shù)，必須放棄對(duì)其他方面的關(guān)注而只關(guān)注藝術(shù)作品本身。

　　49.比如，我們認(rèn)為藝術(shù)作品必須作為藝術(shù)品被人們欣賞，但是我們?cè)谛蕾p藝術(shù)作品時(shí)也能從中獲得一些具有獨(dú)立價(jià)值的東西。

　　50.因此，笑話是因?yàn)槠浔旧矶�可笑，盡管笑聲中有一種獨(dú)立的價(jià)值，這一價(jià)值通過(guò)使我們?cè)谄�刻中脫離自己而燃亮了我們的生命。

　　總體分析

　　本文是一篇關(guān)于藝術(shù)的價(jià)值的文章。其中主要論述的是唯美主義的“為藝術(shù)而藝術(shù)”的觀點(diǎn)。

　　第一段：提出了藝術(shù)價(jià)值的兩種理論，即內(nèi)在理論和外在理論。對(duì)這兩種理論做了具體闡釋?zhuān)�并引出了�?duì)藝術(shù)效果的疑問(wèn)。

　　第二段：指出列夫·托爾斯泰的外在理論不能令人滿意，哲學(xué)家們一直關(guān)注探索的是藝術(shù)自身的價(jià)值體驗(yàn)。在該段中，作者引用了奧斯卡·瓦爾德以及法國(guó)象征主義的觀點(diǎn)。

　　第三段：在兩種極端的觀點(diǎn)之間，有一種居中的觀點(diǎn)，即藝術(shù)作品必須作為他們本身而被體驗(yàn)，但是在體驗(yàn)的過(guò)程中，我們又確實(shí)得到了一些東西。該段作者用了例證法，以“玩笑”的價(jià)值為例來(lái)證明自己的觀點(diǎn)。

　　文章學(xué)術(shù)性較強(qiáng)，屬于正式文體，因此長(zhǎng)句、復(fù)合句頗多，其中引入了一些學(xué)術(shù)界人士的觀點(diǎn)，所以有很大難度。通過(guò)該文章的閱讀，考生應(yīng)懂得拓寬知識(shí)面的重要性。

　　文章考查的知識(shí)點(diǎn)主要有：(一)被動(dòng)語(yǔ)態(tài)。(二)狀語(yǔ)，包括現(xiàn)在分詞做狀語(yǔ)、方式狀語(yǔ)從句、目的狀語(yǔ)從句和讓步狀語(yǔ)從句。(三)定語(yǔ)從句。(四)it做形式主語(yǔ)。