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本文主要论点如下:(1)精神的创造性能动地、随时随地地体现自己并要求被认识,于是形成人们认识的对象。这创造性的体现,是通过先验的、前意识的、非理性的智性,所以精神又叫做精神的无意识。这创造性的被认识,则是通过直觉。因此必须强调:精神的主要特征是它的无意识、超绝性、真正的自由;精神的创造性的特征是它的无对象和无目的性。(2)精神的无意识通过智性而体现,而活动,这活动包蕴着想象、理性和感觉,它们形成了智性的自由生命。(3)诗的源泉是精神的无意识。诗不断地体现和不新地认识精神及其创造性;在前一方面,诗也具有先验的智性,在后一方面,诗也凭借直觉;因此诗也没有对象和目的,而只有任何目的以外的目的。(4)诗的直觉的特征是:(a)集中表现了精神的创造性以及对这创造性的反映,并通过这表现取得了诗的自身的创造性;(b)这种表现虽只能隐约地把握精神的创造性这一观念,但仍然可以明确精神的超越性和自由;(c)诗的直觉所具有的创造性通过诗人而表现时,就严格规定了诗人自己的主观性,以及这主观性对外界事物的隐约地被把握、被认识;(d)诗的直觉是自我完成的,无须任何的增加因素,也不可能加以学习、训练和改进,因为它源于智性,也分有了智性所包蕴的想象和所体现的自由生命。(5)诗与美:美是诗的关连物;因为诗源于精神的无意识,并和精神的创造性同样地是无对象的,无目的的,所以作为诗的关连物的美也是无对象的、无目的的,而只倾向于任何目的以外的目的。(6)艺术:艺术是诗的直觉进入实践的产物。艺术在特定的范围和范畴中进行实践,所以有对象和目的;这目的只限于实用,并且和认识精神的创造性不发生关系,至于工艺美术的目的则不是要求人的意识符合事物(作者在这里所用的“事物”一词,是指体现精神及其创造性的事物或上帝所造并能体现上帝或精神的事物,并不是指我们所说的客观事物),而是要求事物符合人的意识。
The main points of this paper are as follows: (1) Spiritual creativity can express itself and request to be recognized anytime, anywhere, thus forming the target of people’s understanding. This creative manifestation is through the transcendental, preconscious, irrational intelligence, so the spirit is also called spiritual unconsciousness. This creative is recognized, it is through intuition. It must therefore be emphasized that the main characteristic of the spirit is its unconscious, transcendental, genuine freedom; the creative character of the spirit is its objectless and purposelessness. (2) Spiritual unconsciousness is manifested through intelligence and activity, which contains imagination, reason and feeling. They form an intellectual free life. (3) The source of poetry is spiritual unconscious. The poem continuously reflects and refreshes the spirit and its creativity; on the other hand, the poem also has a transcendental intelligence. On the latter side, the poem also relies on intuition; therefore, the poem also has no object or purpose, but only for any purpose the goal of. (4) The poetic intuition is characterized by: (a) a concentrated expression of spiritual creativity and its reflection on it, and the acquisition of its own inventiveness through this manifestation; (b) such performance can only be vaguely grasped Spiritual creativity, the spirit transcendence and freedom can still be clarified. (C) When the creativeness of poetic intuition is expressed by poets, the poet’s own subjectivity is strictly regulated and the subjectivity of the subjectivity to the outside world (D) the intuition of the poem is self-fulfilling, and it is impossible to learn, to train, and to improve, because it is derived from the intellect, but also from the intellect Implied by the imagination and the freedom of life embodied. (5) Poetry and beauty: Beauty is the related matter of poetry. Since poetry originates from spiritual unconsciousness and has no purpose and no purpose as spiritual creativity, the beauty as a related object of poetry is also objectless , Purposeless, but only for any purpose other than purpose. (6) Art: Art is the product of the intuition of poetry entering practice. Art is practiced in a specific area and category, so it has objects and ends; its purpose is limited to practicality and not to its intellectual creativity, and its purpose is not to ask for human consciousness to do something (the author is here The term “thing” used refers to something that reflects the spirit and its creativity, or something God has created and can reflect God or spirit, and does not refer to what we call objective things), but requires that things conform to human consciousness.