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席勒的宗教观点立足于西方神人关系的传统,继承了近代康德的观点,但又把康德的道德象征的神变成了审美的神。在席勒那里,上帝只有作为审美假象的自由游戏的形象出现时才是自由和审美的神,才是值得赞美的。而“与现实和真理相混淆”的上帝则是席勒极力批判的。从人性的自由出发,席勒审美教育的第一步是通过艺术把分裂的人性恢复到其本性的自由和完整。但在席勒看来,真正的自由的人还必须具有道德修养,这是审美教育的第二步,它通过崇高来完成,人性崇高的极限就是神性和上帝。所以,在自由的发展道路上,人从“完整的人”向“全能的神”不断地迈进,《强盗》中的卡尔.穆尔正是这样的典型。
Schiller’s religious view based on the tradition of the relationship between the gods in the West, inherited the views of modern Kant, but again the god of Kant’s moral symbol of the aesthetic God. In Schiller it is only praiseworthy that God is the free and aesthetic God only when the image of a free game as a false impression of beauty appears. The “confused with the reality and truth” of God is Schiller strongly criticized. Starting from the freedom of human nature, the first step in Schiller’s aesthetic education is to restore the fragmented human nature to the freedom and completeness of its nature through art. However, in Schiller’s view, a truly free man must also have a moral accomplishment. This is the second step of aesthetic education. It is accomplished through sublime. The loftier limit of humanity is divinity and God. Therefore, on the path of free development, man constantly moves from “complete man” to “Almighty God.” Such is the case with Carl Moore in The Bandit.