摘要
当代,现代性的求新逻辑业已成为艺术的"传统"和常态,而它所表现出的不断自我消耗、自我否定的趋势也颇令人忧虑。倡导现代性的先驱波德莱尔其实对该问题有更为辩证的见解。其艺术二重性观点既肯定了短暂、偶然的一面,也认可了艺术永恒性的一面。在波德莱尔眼中,"现时的美"并不否定"永恒的美",而且艺术品的"永恒"恰恰内蕴在现时的艺术品之中。
The pursuit of the New has become the tradition and common phenomenon in the art world, and this trend of self-consuming and self-negating is quite worrying. Baudelaire, one of the pioneers advoca- ting modernity, had a more dialectical understanding of this problem. He emphasized the pursuing of both the momentary and contingent present and the Eternity. In his opinion, the "temporary beauty" of artwork is not a denial of its "eternal beauty" ; on the contrary, the artwork' s Eternity is embedded in the " temporary beauty".
出处
《四川大学学报(哲学社会科学版)》
CSSCI
北大核心
2012年第4期12-17,共6页
Journal of Sichuan University:Philosophy and Social Science Edition
基金
2009年度教育部社科研究基金青年项目(O9YJC720023)<西方后分析美学转型及其现代意义>的阶段性成果