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馬尔罗的一个最独到之見是看出了美学上的模仿論和史学上的“影响”論之间的关系,并对此两方面同时进行了論争。馬尔罗认为艺术家不是从模仿自然开始,而是从充分发挥其本能开始。他认为历史引起了艺术家的反应,但却对它起不了决定作用。每一个艺术家是根据其自己人格对他所处时代的不同方面作出反应的。他认为在近代艺术影响之下,“一个野蛮的文艺复兴“已成为一种趋势;凡是带有人文主义或优美文明的艺术品都不能使我們感受它的美好,我們悬在光荣地位的都是一些其他的作品。现在被人怀疑的是乐观主义和理性主义,对于科学和进步的信念。弗洛伊德使我們对夢、下意識和性有了新的了解;托馬斯·曼設想了一首综合狄俄尼索斯精神和阿波罗精神的“人类夢詩”;卡西拉把从自然科学认識論方面得来的康德哲学范疇扩大到語言和神話的非理性领域;而馬尔罗则竭力证明不論在偶象崇拜中,在猎取人头并加以彩飾作为战利品的活动中……人都是在发扬他的人性。
One of the most unique views of Malo is to see the relationship between the theory of aesthetics and the theory of influence in history, and at the same time to discuss the two aspects. Malo argues that artists do not start by imitating nature but start by giving full play to their instincts. He thinks history has aroused the artist’s reaction, but it can not play a decisive role. Each artist responds to different aspects of his time based on his own personality. He believes that under the influence of modern art, “a savage Renaissance” has become a trend; any art with humanism or graceful civilization can not make us feel its beauty. All of us are in a glorious position Some other works What is now being questioned is optimism and rationalism, faith in science and progress. Freud gave us a new understanding of dreams, subconsciousness, and sexuality; Thomas Mann envisions a “human dream poem” that combines Dionysian and Apollo spirits; While the epistemological aspect of Kant’s philosophy expands to the irrational aspects of language and mythology, Marlo endeavors to prove that in idol worship, in the activities of hunturing and coloring as a loot ... all are In promoting his humanity.