摘要
长期以来,诠释王国维"境界"说的主导方向是以叔本华哲学(美学)为"本"。这是一个根本误解。本文主旨就是揭示和澄清这个误解。全文分三个部分:第一,通过对王国维美学、文学论著的历史梳理,论证王国维提出"境界"说的主要动机是他的美学思想从接受叔本华美学转向席勒美学;第二,对以叔本华哲学(美学)诠释"境界"说的重要论著进行历史追述和分析批评,指出这种诠释方式形成的主要根源是非历史地看待王国维的美学文献;第三,简要论述作者的基本观点:"境界"说的核心是以席勒提出的以人本主义理想为核心的诗歌理想,而《论素朴的诗和感伤的诗》是"境界"说的基本思想资源。
For a long time the dominant perspective adopted in interpreting Wang Guowei’s theory of 'jingjie' has been based on Schopenhauerean philosophy (aesthetics), which is a misunderstanding throughout to the end. Aiming to reveal and clear up the misunderstanding, this paper is going to discuss it in three parts. First, through a historical re-examination of Wang Guowei’s works on aesthetics and literature, it makes the point that Wang Guowei’s chief motive in advancing a theory of 'jingjie' involves a shift of his aesthetic thought from Schopebhauerean to Schillerian. Second, on the basis of a historical review and an analytical criticism of the major works that interprets the 'jingjie' theory from the perspective of Schopenhauerean philosophy (aesthetics), it argues that the root cause of this mode of interpretation lies in a non-historical view of Wang Guowei’s aesthetic writings. Third, it briefly explicates the author’s basic view: the core of his theory is Schiller’s humanist poetic ideal, and its thought resource is On Nave and Sentimental Poetry.
出处
《文艺研究》
CSSCI
北大核心
2007年第11期45-55,共11页
Literature & Art Studies
基金
国家社科基金项目<意境与现代人生>(04BZX061)阶段性成果
