论文标题:莱辛美学思想与现实主义文艺
Lessing Aesthetics Thought and Realistic Literature and Art
论文作者 熊敬忠
论文导师 莫其逊,论文学位 硕士,论文专业 文艺学
论文单位 广西师范大学,点击次数 123,论文页数 37页File Size2751k
2002-04-01论文网 http://www.lw23.com/lunwen_621217072/ 莱辛;现实主义文艺;拉奥孔;汉堡剧评
Lessing;Literature and Art of Realism;Laocoon;Hamburgische Dramaturgie
启蒙运动时期文学和美学是一个重要的西方文艺学研究课题，莱辛作为德国启运动的杰出代表，尤其值得引起我们的关注。莱辛不是一个学院派的批评家，而是一个许下诺言并为实现诺言而勤奋写作的作家理论家，他的文学创作活动和理论实践，都是紧密结合德国现实要求、为唤起民族自我拯救意识、实现国家统一而展开的。与欧洲其他启蒙运动思想家相比，莱辛更加深刻地领悟了自柏拉图、亚里士多德以来西方文学创作和美学理论的精髓，将文学的社会责任和历史使命解说出来，是其成为利器，去扫除古典主义和贵族僧侣主义的颓废气息。莱辛之所以取得不凡的成就，是因为他坚持了现实主义的创作原则和精神，并把现实主义作为诗化哲学融入到他毕生的文学创作和批评实践之中，确立了一种美学范式——人本学的审美追求。 诗画关系是一个古老的问题。古希腊理论家早有阐述，但他们主要是从诗画相融相通的角度来论说的，中国古代文学家对此也有类似看法。到新古典主义时期，这种观点越来越使文艺成为宣扬封建帝王和贵族僧侣功德、粉饰现实，脱离大众的理论依据，不利于正在兴起的市民阶级文艺的发展。如何使文艺反映生活、适应现实需要，就成为启蒙思想家最为关注的问题之一，首先就必须突破诗画同一的传统观念，寻求诗画之分别，创建诗画分类学理论。莱辛从对象、媒介、方式和效果四个方面对此进行了区分：就对象而言，画适合于描绘空间中并列的物体，表现静态事物，诗宜于表现时间中先后承续的动作；就媒介看，绘画使用线条、色彩之类“自然的符号”，诗运用语言之类“人为的符号”；就方式来说，画以形象诉诸人的视觉，较少借助于想象，诗以语言称述动作，须通过记忆与想象才能建构形象；画的效果是美，诗的效果是真实。莱辛并没有把诗画绝对对立起来，而是较辨证的解答了诗画转化的途径。实际上，《拉奥孔》在诗画分界问题上建构了市民行为主义策略。 古典主义悲剧是帝王将相聊以自慰的圣品，是封建贵族和僧侣主义意识形态的形象使者，它已不适应市民社会文艺发展的需要，只有把帝王将相从悲剧的神龛拿下，代之以市民大众作为悲剧的鲜活角色，才能建立起新的悲剧圆形。莱辛从市民悲剧的时代要求、亚里士多德的悲剧净化说诠释、悲剧性格和悲剧教育四个方面阐发了他的悲剧理念。在《汉堡剧评》里，莱辛还提出了艺术摹仿论，艺术虚构论，性格与环境依存论、艺术真实与历史真实关系论等具有启发性的美学命题。这些观点构成了莱辛现实主义戏剧美学思想主要的问题框架。 《拉奥孔》和《汉堡剧评》体现了现实主义的人道主义精神，都设定了艺术类型的审美原则以及破立结合的论理方法。 莱辛美学思想对现实主义的影响是深远的。西方自后启蒙运动，古典主义到近现代文艺都延续着一条现实主义之路，特别是19世纪下半叶的现实主义高峰，有力的印证了现实主义的巨大生命力。20世纪的现代主义、后现代主义即使想开辟新路，也是从对现实主义的反驳开始的，它们无法绕过现实主义的“魔圈”。中国现代性文艺实践，也没有忽略对莱辛的研究，正是启蒙的巨大感召力，才使得莱辛的魅力永存。
literature and Aesthetics in the Enlightenment period was a important theory problem of literature and art in the west. Being a prominent representative of Germany,Lessing must be paid attention especially. No an academic critic,Lessing was a writer and theorist who promised and kept his word. His literary and artistic creation and theory of practice combined closely German reality for awakening national self-consciousness and unifying his nation. Compared with other Europe enlightenment thinkers,Lessing more deeply grasped marrow of literary and artistic creation and Aesthetics theory in the west from Plato to Aristotle by explaining literary society duty and historical mission,and made it become sharp weapon to sweep away decadent atmosphere of Classicism and Aristocrat-clergism. Because Lessing persisted in Realism principle and spirit and made Realism become poetic philosophy which was merged completely his literary creation and critical practice,he won brilliant achievements,and created a sort of Aesthetics style-appreciation of the beauty pursuit of Anthropology.Relation of poetry and painting was an ancient question. In a long time,ancient Greece theorists had demonstrated it,however,they discussed mainly it from an angle that was consistent poetry with painting,as paleo literaturists in China had expressed so similar view. In Classicism epoch,this view more and more made literature and art become a kind of theory basis which the monarch and aristocrat-clergy eulogized their virtues and achievements,and presented a false picture and prosperity and were divorced from the masses. It was dangerous to prosperous townspeople-class"s literature and art. That the Enlightenment thinkers especially concerned one of questions was how to make literature and art reflect life,to adapt realistic requirement. By doing so,first of all,it must break through the standpoint which poetry was consistent with painting and looked for the difference between them. Lessing told them from object medium > style and effect:in term of object,painting was fit to depict coordinate bodies in space and displayed still things,however,poetry was appropriate to show continuous action among time;on intermediary,painting made use of " natural symbol",such as lines and colors,but poetry applied "abstract symbol" such as language;according to style,painting mirrored personal sight,hardly making use of imagination nevertheless,poetry used language to illustrate movement so that it was able to create characters by memory and imagination;painting"s effect was beauy,whereas,poetry effect was truth. Lessing didn"t completely set poetry against painting,on the contrary,he dialectically revealed the path of inter-conversion between poetry and painting. In fact,Laocoon had established townspeople"s actionism strategy on the limits between poetry and painting.Classicism tragedy was regarded as themselves-comfortable saint substance by the monarch,the General and chancellor,imaginative ideological representative of feuda-noblism and clergism. They were inappropriate to literature and art in townspeople society. Only through sweeping away Classicism tragedy and making townspeople become vivid tragedy role,it was possible to found new tragedy original shape. Lessing illustrated his tragedy theory from four aspects:tragedy"s periodical requirement- tragedy purification of Aristotles tragedy character and tragedy education etc.. In Hamburgishe Dramaturgic,Lessingmentioned some inspired Aesthetics topic such as artistic imitation artistic fabrication the dependence of character and environment and relation of artistic reality and historical reality. These viewpoints formed Lessing"s mainly questional frame-Aesthetics thought of Realism drama.Both Laocoon and Hamburgische Dramaturgie embodied realistic humanism spirit,laid down Aethetics principle of art-classification and demonstrative method of integrating destruction with establishment.Influence of Lessing Aesthetics thought was profound and lasting. A Realism road lasting from the Poste
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