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布拉格学派从事文学与美学研究的领军人扬·穆卡若夫斯基,于20世纪三四十年代首次将结构主义理念融入审美价值问题研究。与传统美学多从本体论这一静态视角来研究审美价值不同,穆卡若夫斯基始终坚持从动态的视角出发。他不再追问审美价值一劳永逸的定义,而是将其视为一种过程;不仅关注审美价值自身演变的规律,也重视社会对审美价值演变产生的影响,从而有效地将共时与历时、主体与客体结合起来,最终在审美评价的易变性与普遍审美价值的客观性之间达成较好的平衡,将审美价值研究推向深入。
Jan Mukavarovsky, a leader in the study of literature and aesthetics in Prague School, first introduced the concept of structuralism into the study of aesthetic value in the 1930s and 1940s. Much different from the traditional aesthetics, which studies the aesthetic value from the static perspective of ontology, Mukarovsky always insists on starting from a dynamic perspective. He no longer pursues the once and for all definition of aesthetic value, but treats it as a process. He not only focuses on the law of the evolution of aesthetic value, but also on the impact of society on the evolution of aesthetic value, so that he can effectively combine synchronicity and diachronicity, In combination with the object, the balance between the variability of aesthetic evaluation and the objectivity of universal aesthetic value is finally reached, and the study of aesthetic value is further promoted.