西方文論選讀

內(nèi)容概要

20世紀(jì)以來，中國的現(xiàn)代學(xué)術(shù)形態(tài)，包括范式和方法，主要是在借鑒西方學(xué)術(shù)形態(tài)的基礎(chǔ)上建構(gòu)起來的，文學(xué)研究和文學(xué)理論也不例外。當(dāng)今各種文學(xué)理論教材的基本構(gòu)架和文學(xué)研究方法，大都受到了西方文論的影響。就連對中國古代文論的整理和取舍，也在相當(dāng)程度上是以西方文論為參照坐標(biāo)的。因此，學(xué)習(xí)西方文論對我們有著至關(guān)重要的作用。近年一些有識(shí)之士提出中國文論失語癥的問題，要求中國文論應(yīng)當(dāng)有自己的聲音，應(yīng)該調(diào)整對西方文論的態(tài)度，反對盲目照搬和全盤西化，這是非常正確的。但無論如何，借鑒西方、繼承傳統(tǒng)以及立足文學(xué)和文論的現(xiàn)實(shí)這三者應(yīng)該有機(jī)地統(tǒng)一起來，借鑒西方永遠(yuǎn)是我們研究文論的重要方法之一。

書籍目錄

導(dǎo)言一　理想國（第十卷）二　詩學(xué)三　論崇高四　致德拉斯加拉大親王的信五　論三一律，即行動(dòng)、時(shí)間和地點(diǎn)的一致六　新科學(xué)七　拉奧孔八　判斷力批判九　說不盡的莎士比亞十　論女性作家十一　作為意志和表象的世界十二　現(xiàn)時(shí)代批評的功能十三　現(xiàn)代生活的畫家十四　藝術(shù)論十五　悲劇從音樂的精神中誕生十六　作為藝術(shù)家的批評家十七　俄狄浦斯情結(jié)十八　直覺與藝術(shù)十九　詩和抽象思維二十　審美假說二十一　機(jī)器復(fù)制時(shí)代的藝術(shù)作品后記

章節(jié)摘錄

48. The relation of genius to taste,For estimating beautiful objects, as such, what is.required is taste; but for fine art, i.e. , the production of such objects, one needs genius.If we consider genius as the talent for fine art (which the proper signification of the word imports), and if we would analyse it from this point of view into the faculties which must concur to constitute such a talent, it is imperative at the outset accurately to determine the difference between beauty of nature, which it only requires taste to estimate, and beauty of art, which requires genius for its possibility (a possibility to which regard must also be paid in estimating such an object).A beauty of nature is a beautiful thing; beauty of art is a beautiful representation of a thing.To enable me to estimate a beauty of nature, as such, I do not need to be previously possessed of a concept of what sort of a thing the object is intended to be, i. e., I am not obliged to know its material finality (the end), but,rather, in forming an estimate of it apart from any knowledge of the end, the mere form pleases on its own account. If, however, the object is presented as a product of art, and is as such to be declared beautiful, then, seeing that art always presupposes an end in the cause ( and its causality), a concept of what the thing is intended to be must first of all be laid at its basis. And, since the agreement of the manifold in a thing with an inner character belonging to it as its end constitutes the perfection of the thing, it follows that in estimating beauty of art the perfection of the thing must be also taken into account-a matter which in estimating a beauty of nature, as beautiful, is quite irrelevant.It is true that in forming an estimate, especially of animate objects of nature, e.g. , of a man or a horse, objective finality is also commonly taken into account with a view to judgement upon their beauty; but then the judgement also ceases to be purely aesthetic, i. e., a mere judgement of taste. Nature is no longer estimated as it appears like art, but rather in so far as it actually is art, though superhuman art; and the teleological judgement serves as a basis and condition of the aesthetic.

后記

為了適應(yīng)“西方文論”課程的雙語教學(xué)需要，我們編譯了這本中英文對照的《西方文論選讀》教材。本教材由朱志榮、楊俊蕾策劃，杜明業(yè)、陶國山協(xié)助組織和校閱。最后由朱志榮撰寫導(dǎo)言，楊俊蕾、朱海等撰寫作者簡介，杜明業(yè)做了具體的刪改勘訂，朱志榮、楊俊蕾對全書定稿進(jìn)行了最后一遍校對。由于我們經(jīng)驗(yàn)不足，水平有限，加之時(shí)間倉促，本教材一定還存在種種不足，歡迎專家和其他讀者批評指正。

編輯推薦

《西方文論選讀(英漢對照)》由華東師范大學(xué)出版社出版。

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