杜夫海纳认为审美对象是纯粹知觉对象。
Mikel Dufrenne held that the aesthetic object is a pure object of perception.
此外，杜夫海纳还论述了表演的极端形式，即复制。
In addition, Dufrenne also discussed the extreme forms of performance, that is, copy.
杜夫海纳的深度分别表现为审美对象的深度、审美知觉的深度，以及二者的关系。
The depth of Dufrenne respectively expresses the depth of object and subject, and the connection between them.
现象学美学是二十世纪西方最具影响力的美学思潮之一，审美对象是以杜夫海纳为代表的现象学美学家所关注的焦点。
Phenomenological aesthetics is one of the most influential trends of aesthetics thought in the West in the twentieth century.
现象学美学是二十世纪西方最具影响力的美学思潮之一，审美对象是以杜夫海纳为代表的现象学美学家所关注的焦点。
Phenomenological aesthetics is one of the most influential trends of aesthetics thought in the West in the twentieth century.
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