摘要
《金瓶梅》的艺术世界 ,我们既看到了裙袂飘飘 ,也看到了佩剑闪亮。这场关于情欲的奇异之旅在语言的纠缠里达到了最充分的展现。对于性 ,如果我们把它置于人性和人文情怀中去 ,对它的解读会不会是另一种面貌 ?是否可以将性的价值尽量中立化 ?《金瓶梅》的艺术空间也正因丑的发现而被大大拓宽。丑的主体意识越来越强 ,它清楚地表明 ,自己并非只是美的一种陪衬 。
Jin, Ping and Mei presents a vivid artistic world fraught with femininity and masculinity. The unusual journey of sexual passion found its full expression in the language. If sex is to be understood as human nature and humane passions, would there be another kind of interpretation? Would there be a possibility of neutralizing the value of sex? The artistic space of Jin, Ping and Mei is largely expanded due to the discovery of ugliness. The consciousness of ugliness as subject is increasingly strong, which shows that ugliness is not simply a foil of beauty and thus can also arouse artistic attention.
出处
《湖北大学学报（哲学社会科学版）》
CSSCI
北大核心
2001年第4期68-71,共4页
Journal of Hubei University(Philosophy and Social Science)
