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狄德罗认为,自然处于“永恒流动”之中,宇宙万物具有连续性与相异性,只有作为整体才是真实个体。该自然观首先影响了他的文学创作。狄德罗在小说《拉摩的侄儿》中,通过拉摩的哑剧表演淋漓尽致地展现了这种流动本体论的观点。而《淑女伊芙》《疯狂的动物》等影片,则可视为狄德罗自然观的现代案例:“永恒流动”观念既为影片提供了哲学支撑,又提供了解读方式。其次影响了他的美学理论建构。由于万物处于永恒变化状态,诗歌、音乐、绘画等美的艺术,并不能真正实现对“美的自然”的模仿。美是动态的,且受到自然个体存在物组成部分或存在物之间的“密切关系”的影响。基于此,狄德罗批评了梵洛为他画的肖像,提出了“美在关系”说。可以认为,表现变动不居的美的自然并不在画布上、石头中,而只能诉诸哑剧。
Diderot believes that nature is in “eternal flow ”, the universe has continuity and dissimilarity, and only as a whole is the real individual. This view of nature first affected his literary creation. In his novel “The Nephew of Rama”, Diderot shows this kind of mobile ontology vividly through Ramo’s pantomime performance. The “Lady Eve” “Crazy Animals” and other films can be regarded as the modern case of Diderot’s view of nature: “Eternal Flow ” not only provides the philosophical support for the film, but also provides a means of interpretation. Second, influenced his aesthetic theory construction. Since everything is in a state of eternal change, the art of beauty such as poetry, music, painting, etc. can not truly achieve the imitation of “natural beauty ”. Beauty is dynamic and is influenced by the “close relationship” between components or existential entities of natural individuals. Based on this, Diderot criticized the portrait painted by Vatican for him and put forward “beauty in relation”. It can be argued that the beautiful nature that does not change is not in canvas or stone, but only in mimes.