| （摘要内容经过系统自动伪原创处理以避免复制，德语专业论文，德语论文，下载原文正常，内容请直接查看目录。） 虽然德国古典美学对于艺术类型的划分和每种艺术门类的划定性为世人所熟知,然则却鲜有人斟酌如许一些成绩：为什么德国古典美学如斯看重艺术类型的划分?为什么统一时代的美学家,从康德、席勒、黑格尔,他们对于艺术类型的辨别有着伟大差别?他们的目标是甚么?要处理哪些与时期相干的成绩?他们的艺术类型划分准绳,在艺术走向年夜众化、贸易化和媚俗化的明天能否还具成心义?处理这些成绩就是本文的中间义务。经过这些视角,本文不只梳理、剖析了德国古典美学家在艺术分类上的差别性与分歧性,并且从现代文艺学视野从新评价了这些艺术分类的准绳,从每艺术类型的成长状况从新摸索了德国古典美学家的预判与误判。办法上,本文彩用文献、文本和汗青相联合的准绳,即以德国古典美学的发蒙语境作为主要汗青配景,以德国古典美学家之间的继承、成长关系为线索,以现现代美学家和艺术实际家的回应作为参照,对德国古典美学家的艺术分类目标停止了清楚表述。内容上,本文重要评论辩论了康德、席勒、黑格尔的艺术分类思惟,并以为全部德国古典美学都受制于发蒙语境,它的艺术分类请求是由发蒙活动的自在需求促动的。因为现代艺术的成长和现代实际的解构主义偏向,这类与发蒙挂钩的艺术分类赓续遭遇批评,但整体而言,它们并未是以掉去现代性价值。 Abstract: Although the division of German classical aesthetics of art type and of each category of art the provisions for the people of the world known, but rarely consider such some achievements: why the predicament of German classical aesthetics value type art division? Why era of unity of the aesthetician, from Kant, Schiller and Hegel, they identify a type of art has a great difference? What is their aim? To deal with what period and coherent results. Their art classification criterion, in art to the eve of the audience, trade and pro secular tomorrow can also mean? Treatment of these achievements is the intermediate obligation. After these perspectives, this article not only combs, analyzes the classical German aesthetician in the art classification differences and differences, and from the modern literary perspective from a new assessment of the criterion of the classification of art, from the growth condition of each type of art from the new exploration of the classical German esthetician of pre judgment and miscalculation. Way, the color with literature, the text and the historical phase combined with the principle, namely in the context of Enlightenment of German classical aesthetics as the main historical background, to classical German esthetician between inheritance and growth as a clue, with the present practical modern aestheticians and art house response as a reference, of Germany classical aesthetic theorist of art classification target stopped clearly stated. Content, this article comments debate the Kant, Schiller and Hegel's artistic classification thought, and the thought of German classical aesthetics are subject in the context of the enlightenment, the classification of art request is actuated by the enlightenment needs free. Because the deconstruction of the growth of the modern art and the modern practical bias, this kind of linked with the Enlightenment of art classification gengxu suffered criticism, but overall, they did not appear to be to fall to the modern value. 目录: 中文摘要 2-3 Abstract 3 绪论 6-17 第一章 康德艺术分类思想的启蒙旨归 17-35 第一节 艺术的级别与权力 18-26 一、艺术与非艺术、快适的艺术与美的艺术 18-22 二、美的艺术也有等级、权力大小的区分 22-26 第二节 美的艺术与人的自由 26-33 一、审美诸观念与艺术自由 26-31 二、艺术传达与美学启蒙 31-33 小结 33-35 第二章 素朴的艺术与感伤的艺术 35-51 第一节 素朴艺术与感伤艺术的区分 35-42 一、自然人与文化人的艺术分野 36-40 二、感伤的艺术与素朴的艺术比较 40-42 第二节 从感伤的诗到理想的诗 42-50 一、素朴的艺术已经不合时宜 42-44 二、作为新型艺术的感伤诗 44-47 三、渴盼理想的诗 47-50 小结 50-51 第三章 黑格尔：艺术类型的演进 51-64 第一节 艺术发展中的类型进化 51-60 一、美学体系中的艺术 52-54 二、三段论中的艺术类型演进 54-56 三、艺术门类的演进 56-60 第二节 扬弃浪漫型艺术的启蒙 60-63 一、艺术无法弥合现代主体的分裂 60-62 二、美的艺术和精神艺术的分裂 62-63 小结 63-64 结语 64-66 参考文献 66-68 致谢 68-69 |
