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中文摘要：
在当代西方美学的“意图主义的复兴”中，诺埃尔·卡罗尔所提出的“适度的实际意图主义”构想颇为引人瞩目。“适度的实际意图主义”既是对意图主义的捍卫和对反意图主义的批判，又是在与“极端的意图主义”和“假设的意图主义”的论争中对意图主义加以反思和调整。“适度的实际意图主义”的意图主义论证包含本体论层面的论证与目的或兴趣层面的论证，前者低估了文学艺术与日常生活的差异及其对解释的影响，对日常对话的观点也可商榷，后者将艺术对话视为读者与作者的对话同样是可疑的。不仅如此，“适度的实际意图主义”还包含着一些内在困难，如难以达到其限制解释的目标、文本自主性主张的自我削弱、未能避免陷入独断的危险等。在此基础上，本文提出“适度的反意图主义”的构想并作初步的阐释。相比“适度的实际意图主义”，“适度的反意图主义”也许能更好地成为有效的艺术解释实践的向导。
英文摘要：
The revival of intentionalism is an important trend of contemporary Western aesthetics. N. Carroll＇ s theory of modest actual intentionalism is remarkable in this trend. He stoutly criticizes the anti - intentionalism and defends intentionalism with reflections in the disputes about ultra -intentionalism and hypothet- ical intentionalisn. But the ontological arguments of modest actual intentionalism underestimate the difference between arts and life, and his opinions on daily dialogue are also open to question. In his another arguments a- bout the purpose or interest of art, the notion that artistic dialogue is between the writer and the reader, is equally dubious. Moreover, there are many intrinsic difficulties, for example, difficult to achieve the goal of limit interpretation, self - weakening his idea of textual autonomy and dangerous dogmatism. Modest anti - intentionalism, by contrast, may be a better guide to interpret artistic experience.
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