德国早期浪漫主义的动态美学

Dynamic Aesthetics of the Early Romanticism in Germany

德国早期浪漫主义认为美属于古典艺术,现代艺术的审美特征在于有趣,有趣的不确定性引发反思。而原初的优美被看成先于反思,回溯优美的道路却是通过无限反思———即在对立两极之间的无限往复运动———实现的。浪漫主义把艺术家、作品和鉴赏者重新融合在一个创造性的互动关系中,将审美的权力关系改造成人人都是艺术家的共和制。为了从哲学的角度解释浪漫主义美学的动态结构,本文分析了康德和早期费希特的"自我"与"反思"概念,以及施雷格尔和诺瓦利斯各自提出的不同观点,试图说明德国早期浪漫主义的哲学、美学和政治学是如何如同圆圈(Zirkel)般地围绕"自我"和"反思"展开的。

The early Romanticism in Germany held that beauty belonged to classic art while the typical aesthetic feature of modern art is its interest because the uncertainty of interest arouses reflexion. The original beauty preexists reflexion,the trace of beauty is through infinite reflexion between two opposite poles. Romanticism puts artists,artistic works and appreciators in an interactive relation for creation and reconstructs the aesthetic power relation for all people in the sense of artists. The paper gives an analysis of the dynamic aesthetics of the early Romanticism in Germany,especially the concepts of'self'and'reflexion'in the philosophies of Kant and Fichte as well as Schlegel and Novalis,which reveals the focus on'self'and'reflexion'of the early Romanticism in Germany.