莱辛论丑的意义
发布时间：2019-05-28 17:49
【摘要】：莱辛论丑有以下三重意义。从时代的启蒙意义看,对"丑角"在悲喜剧中的作用和意义的宣扬,回应着启蒙时代的民族召唤和文艺使命,可谓以艺术的手段宣扬自由、平等、民主的政治理想,提高一般市民地位与人权的一种努力与尝试。从美学意义看,《拉奥孔》首次打破"丑"的禁令,给"丑"在诗歌艺术中的出现留下了宝贵的空间;《汉堡剧评》中的"丑角"论赋予一般市民在戏剧中的出现以合法的身份,拓宽了戏剧形象塑造的领域。从方法论意义看,无论是论"丑感",还是论"丑角",都以具体的现象或事例作为论说的材料支撑。与以往德国美学论著注重系统性、逻辑性相比,它既不乏严密的学理论证,又处处充满着现实气息和人文关怀,为创造性的批判式写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.
【作者单位】： 北京大学哲学系;
【分类号】：B83-09
[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.
【作者单位】： 北京大学哲学系;
【分类号】：B83-09
【共引文献】
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