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西方早期系统化文艺理论中真正审美意义上的形式,主要是指与现实或功利等相对的趋向于超脱的含义,这种美在绝对形式,绝对形式在彼岸观照或抽象的逻辑思辨的本体论审美观在西方文艺理论史上影响深远。在中国传统文艺思想中,形式美也是一个十分重要的概念,但这个“形式”却与西方早期美学中的“形式”有着较大差异,一种就是最为普遍的与“文以载道”相关联的二分法的形式,即形式的对立面是内容,这主要是从审美客体的角度来探讨形式美;另一种形式更多地是强调从主体的角度出发,重视审美主体的感性再创造自由。
The real esthetic meaning in early Western systematized literary theory mainly refers to the tendency of detachment from reality or utilitarianism. This kind of ontology of logical speculation of absolute beauty and absolute expression on the other side of the West Aesthetics has a far-reaching influence on the history of western literary theory. Formal beauty is also a very important concept in traditional Chinese literary thought, but this “form ” is quite different from “formal ” in early Western aesthetics, and one is the most common one. The dichotomy associated with channeling, that is, the opposite of form is content, which mainly discusses the formal beauty from the perspective of the aesthetic object. The other form emphasizes more emphasis on the aesthetic from the subjective point of view The perceptual nature of the subject recreates freedom.