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夏目漱石终其一生追求余裕美、和谐美和悲剧美,其“和”的审美理想历经了从“非人情”到“则天去私”的转变。这些美学思想在其小说《草枕》和《心》中都得到充分体现。可以说,漱石美学的形成,最初是缘于漱石反对自然主义滥觞、弘扬日本民族文化的初衷。此外,国外美学和日本文化对漱石美学的影响,亦不可低估。当然,夏目漱石的审美观并非完美无缺,反思其思想,可以发现它也存在一些局限。
Natsume Soseki pursued his life’s pursuit of Yu-mei beauty, beauty of harmony and tragedy, and his aesthetic ideal of “and” went through the transformation from “inhumanity ” to “day ”. These aesthetic thoughts are fully reflected in his novel “Cushion” and “Heart”. It can be said that the formation of Soseki’s aesthetics was originally due to the original intention of Soseki opposing the development of naturalism and promoting Japanese national culture. In addition, the impact of foreign aesthetics and Japanese culture on Soseki’s aesthetics should not be underestimated. Of course, Natsume Soseki’s aesthetics is not perfect, reflecting on his thinking, you can find it also has some limitations.