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浪漫主义反讽是由弗·施莱格尔基于哲学思考提出而后进入美学领域的。施莱格尔把反讽作为解决有限与无限、绝对的需要把握与不可把握这两组矛盾的手段。对反讽的哲学之思进入美学后,文艺创作上表现出三个特点:一、就创作主体而言,反讽赋予艺术家无限的自由;二、就创作主题而言,反讽表现的是有限与无限之间的对立和超越;三、就创作方式而言,反讽以残缺代替完整。浪漫主义反讽的极端主观性虽遭到许多诟病,但不应忽视其中蕴含的辩证因素和美学价值。
Romantic irony was put forward by Ph.F. Schlegel on the basis of philosophical thinking and then entered the field of aesthetics. Schlegel uses irony as a solution to the contradiction between limited and infinite, and absolute need to grasp and not grasp. After entering the aesthetics, the philosophical thought of irony shows three characteristics in literary and artistic creation. First, as far as the creative subject is concerned, irony gives the artist unlimited freedom. Second, in the creative theme, the irony shows limited and infinite Opposition and transcendence; Third, in terms of the way of creation, irony to incomplete instead of complete. Although the extreme subjectivity of romantic irony has been criticized many times, its dialectical and aesthetic values should not be neglected.