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关于诗歌的艺术研究,通常从流派、风格、表现手法等方面分析;诗歌的美学探讨,通常表现为主观论美学和客观论美学的探讨。这些不同的鉴赏角度和分析方法,给我们提供了一定的思考空间。然而,无论从客观上针对流派或艺术手法的分析,还是从主观上针对美感体验的分析,都属于“主—客”二元对立模式的对象性分析。而现象学家海德格尔以“存在论”创造了一种超越“主—客”二元对立的理解方式。在其存在论视阈里,艺术作品中“美的本质”得以凸
The art research about poetry usually analyzes from the aspects of genre, style and expression technique. The aesthetic study of poetry usually shows the discussion of subjective aesthetics and objective aesthetics. These different perspectives and analytical methods provide us with some room for reflection. However, both objectively analysis of genre or artistry and subjective analysis of aesthetic experience belong to the object-oriented analysis of the dualistic mode of subject-subject. However, the phenomenologist Heidegger has created a way of understanding that transcends “subject-guest ” binary opposition by “existentialism ”. In its ontological perspective, the “essence of beauty” in works of art is convex