摘要
歌德所谓"美其实是一种本原现象",颇可比拟于苏格拉底、柏拉图对"美本身"或"美的理念"的称述,亦颇近于康德的审美"原型"和谢林的美之"初象"之说;它意味着人对可感事物从审美上向着其"本原"的成全,并因此而以某种可明证于心的理想的美为经验的审美提示一个可依循的标准。此说一以贯之于歌德的艺术("第二自然")视野、艺术家"风格"理论乃至其"世界文学"的睿识,使其在德国古典美学思潮中独树一帜。
Goethe＇s assertion that ＂Beauty is indeed a kind of Urphanomen＂ is not only comparable to Socrates＇ ＂Beauty itself＂ and Plato＇s ＂Idea of Beauty＂, but also quite approximate to Kant＇s aesthetic ＂Archetype＂ and Schelling＇s aesthetic ＂urbild＂. It implies that man, in assisting sensible things to approach to their ＂Urphanomen＂ in the aesthetic dimension, sets some ＂Ideal Beauty＂ evident to his mind as the criterion to be accorded to for aesthetic experiences. This assertion of Goethe＇s remains the invariable theme throughout his perspective on art （＂the Second Nature＂）, ＂Style＂ theory and the concept of ＂World Literature＂, therefore distinguishes him in the whole movement of German Classical Aesthetics.
出处
《中国人民大学学报》
CSSCI
北大核心
2009年第1期112-120,共9页
Journal of Renmin University of China
关键词
美
本原现象
第二自然
风格
世界文学
beauty
Urphanomen
the Second Nature
style
world literature
