摘要
《逆天》提供了颓废者德泽森特病态审美趣味的"症候"。如果从新实践论美学的相关论点出发,可以发现德泽森特在其审美体验中呈现了人的自我意识本质结构,他以实践的方式揭示了"艺术与美"的本质:对人的情感的确证。德泽森特的审美体验过程即"自然向人生成"的异化表现,其病态化"症候"是由于情感无法借助对象化而自由传达所导致的"自由感"的丧失,他的遭遇提供了一个特定时代的"精神标本"。
A Rebours gives the description of a morbidly aesthetic syndrome about the decadent Des Esseintes. Based on the related issues of The New Practical Aesthetics, it could be found that A Rebours presents the structure of human self-consciousness in Des Esseintes' s aesthetic activity. His aesthetic activity gives the answer to 'the essence of art and beauty' in the practical way: a verification of human affection.Des Esseintes' s aesthetic activity is the alienation of the process of 'nature transforming to human'. His morbid symptom is the loss of the sense of freedom which is caused by the obstruction of emotional communication in the objectification. His story is the tragedy spiritual specimen in that specific time.
出处
《浙江社会科学》
CSSCI
北大核心
2016年第2期114-119,159,共6页
Zhejiang Social Sciences
基金
国家社科基金重大项目"19世纪西方文学思潮研究"(15ZDB086)的阶段性研究成果
关键词
于斯曼
《逆天》
自我确证
颓废主义
Joris-Karl Huysmans
A Rebours
self-verification
decadence
