论席勒对康德美学的继承与超越

On Schiller's Inheritance and Beyond the Aesthetics of Kant

法国资产阶级大革命的低潮使苦闷中的席勒转向了康德美学。他用艺术的自由游戏来改造康德的"美是无目的的合目的的普遍使人愉快的对象"这一命题,认为艺术可以培育完美的人性;用悲剧的崇高改造康德的另一命题"美是道德的象征",认为崇高和悲剧都是对感性痛苦的超越而引起的道德提升,使人在精神中得到自由和完善,并有助于人的审美教育。席勒美学通过提倡艺术和审美教育作用于社会与生活,使分裂的真善美走向统一,使悲剧与崇高等范畴真正进入美学的范畴体系,这些努力在一定程度上克服了康德美学的先天的抽象性和纯粹的思辨性。

Schiller turned to Kant＇ s aesthetics in the low depression of French Revolution. He used art of free playing to transform Kant＇s ＂Beauty is not the purpose of the joint purpose of the object of universal enjoyable＂. The proposition that the arts can nurture a perfect human nature. Another transformation ＂Beauty is a symbol of morality＂of Kant with the noble tragedy of proposition that noble and tragedies of the emotional pain caused by moral than enhance. People in the spirit of freedom and perfection, and contribute to people＇s aesthetic education. Schiller＇s aesthetic education through the promotion of art and aesthetic role in society and life, beauty in the division to unity, so that the areas of real tragedy and high into the aesthetic category system, to some extent, these efforts to overcome the inherent abstraction and purely speculative of Kant＇ s aesthetics.