【摘要】：萊辛論丑有以下三重意義。從時代的啟蒙意義看,對"丑角"在悲喜劇中的作用和意義的宣揚,回應著啟蒙時代的民族召喚和文藝使命,可謂以藝術的手段宣揚自由、平等、民主的政治理想,提高一般市民地位與人權的一種努力與嘗試。從美學意義看,《拉奧孔》首次打破"丑"的禁令,給"丑"在詩歌藝術中的出現(xiàn)留下了寶貴的空間;《漢堡劇評》中的"丑角"論賦予一般市民在戲劇中的出現(xiàn)以合法的身份,拓寬了戲劇形象塑造的領域。從方法論意義看,無論是論"丑感",還是論"丑角",都以具體的現(xiàn)象或事例作為論說的材料支撐。與以往德國美學論著注重系統(tǒng)性、邏輯性相比,它既不乏嚴密的學理論證,又處處充滿著現(xiàn)實氣息和人文關懷,為創(chuàng)造性的批判式寫作注入了新的生命活力。
[Abstract]:Lessing's theory of ugliness has the following three meanings. From the enlightenment significance of the times, the propaganda of the role and significance of the clown in the tragic comedy responds to the national call and literary mission of the enlightenment era, and can be described as promoting the political ideals of freedom, equality and democracy by means of art. An effort and attempt to improve the status of the general public and human rights. From the aesthetic point of view, Laokon broke the ban of "ugliness" for the first time, leaving a valuable space for the emergence of "ugliness" in poetry art. The theory of clown in Hamburg Drama Review gives ordinary citizens a legal identity in drama and broadens the field of drama image shaping. In terms of methodological significance, both "ugly feeling" and "clown" are supported by concrete phenomena or examples. Compared with the previous German aesthetic works, which pay attention to systematicness and logic, it is not only full of strict theoretical argumentation, but also full of realistic breath and humanistic care everywhere, which injects new life vitality into creative critical writing.
【作者單位】： 北京大學哲學系;
【分類號】：B83-09

【共引文獻】

相關期刊論文 前10條

1 謝健;馮建國;;李煜詞中的女性審美意象和藝術自敘性[J];合肥師范學院學報;2008年04期

2 歐明俊;胡方磊;;王維“詩中有畫”研究的回顧與反思[J];合肥師范學院學報;2010年01期

3 蔣大椿;歷史與人的意志支配的實踐[J];安徽史學;2004年01期

4 陳育德;“詩中有畫”是“藝術論的認識迷誤”嗎?──《對王維“詩中有畫”的質疑》的質疑[J];安徽師范大學學報(人文社會科學版);2001年04期

5 王木青;;戴望舒的詩美和詩論[J];安徽師范大學學報(人文社會科學版);2006年03期

6 楊柏嶺;;唐宋詞中建筑的特色及其作用[J];安徽師范大學學報(人文社會科學版);2010年03期

7 張曉s，

本文編號：2487237