本文選題：浪漫主義反諷 + 內(nèi)涵　； 參考：《西安外國(guó)語(yǔ)大學(xué)》2012年碩士論文

【摘要】：德國(guó)早期浪漫主義受康德的“唯心論哲學(xué)”、費(fèi)希特的“自我中心論哲學(xué)”和謝林的“同一哲學(xué)”思想的影響，提出了浪漫主義反諷的詩(shī)學(xué)構(gòu)想，其內(nèi)涵已遠(yuǎn)遠(yuǎn)超出了修辭學(xué)和文學(xué)的范疇而上升到了美學(xué)的高度。浪漫主義反諷是“否定的精靈”，它以對(duì)理性世界的反思而自居，為人類提供了一把打開真理之門的鑰匙；它在“毀滅”與“創(chuàng)造”的再生中沖破了“有限”的藩籬，將世界延伸到“無(wú)限”的美好領(lǐng)域；它在“隱喻”與詼諧的整合中將個(gè)體擴(kuò)散至“整體”的邊界，達(dá)到物我同一、主客同一，從而觸及到了“宇宙精靈”。浪漫主義反諷所特有的這種審美內(nèi)涵不但給當(dāng)時(shí)的思想者帶來(lái)啟迪，而且賦予時(shí)代難題以詩(shī)意的解答，因而顯示出重要的現(xiàn)代審美意義。本文擬以浪漫主義反諷的文化背景和基本內(nèi)涵為著眼點(diǎn)，主要從以下三個(gè)方面來(lái)論述浪漫主義反諷的現(xiàn)代審美意義： 第一、“理性法則”之下所創(chuàng)建立的工業(yè)文明促進(jìn)了自然科學(xué)的長(zhǎng)足發(fā)展，也為人類物質(zhì)生活的不斷豐富提供了便利，然而，理性也導(dǎo)致人類對(duì)自我的迷茫。人類生活的意義漸漸被遮蔽，道德信仰與人生的價(jià)值出現(xiàn)了真空。而且這種矛盾在今天達(dá)到了前所未有的程度，并帶來(lái)了道德與體制上的危機(jī)。對(duì)此，浪漫主義反諷以其特有的“否定性”成為反思理性，建立真正文明、道德之路的藝術(shù)創(chuàng)造方法和生存策略。 第二、弗·施萊格爾認(rèn)為，存在的真正矛盾是我們同時(shí)感到自身的有限和無(wú)限，而理性的世界不會(huì)給人提供“既……又……”的可能，生存的悖論導(dǎo)致了一些列難以克服的矛盾，并最終導(dǎo)致了人自身的分裂。這已成為現(xiàn)代人的通病，救贖之路則是沖破理性社會(huì)的各種限制，將“有限”通向“無(wú)限”，使自我實(shí)現(xiàn)真正的“精神自由”。浪漫主義反諷正是以“有限”隱射“無(wú)限”，同時(shí)又不超出有限界限的藝術(shù)手段。由此可實(shí)現(xiàn)人性的復(fù)歸，從而達(dá)到詩(shī)化人生的目的。 第三、“隱喻”在弗·施萊格爾看來(lái)就是一種象征主義的方法，而浪漫主義反諷就是“隱喻”與“詼諧”的綜合，通過(guò)它藝術(shù)實(shí)現(xiàn)了由個(gè)體對(duì)整體的顯現(xiàn)，從而讓人體會(huì)到了“美”的本質(zhì)。這樣，浪漫主義反諷又為現(xiàn)代藝術(shù)開辟了一道“神話”的曙光。 總之，，浪漫主義反諷不是用浪漫的藝術(shù)手段來(lái)掩飾生存的真實(shí)，而是以審美的眼光挑剔日益平庸、從眾和慣例化的日常生活的一種觀察方式，具有反思性和叛逆性。這種反思性和叛逆性對(duì)現(xiàn)代理性法則統(tǒng)治下的道德規(guī)范提出了質(zhì)疑，對(duì)現(xiàn)代人自我分裂的現(xiàn)象給予了救贖，并對(duì)現(xiàn)代藝術(shù)復(fù)興神話的發(fā)展趨勢(shì)提供了全新的理念。
[Abstract]:Influenced by Kant's philosophy of idealism, Fichte's philosophy of egocentrism and Schelling's thought of the same philosophy, early German romanticism put forward the poetic conception of Romantic irony. Its connotation has gone far beyond rhetoric and literature to the height of aesthetics. Romantic irony is the "spirit of negation", which pretends to reflect on the rational world and provides mankind with a key to open the door of truth; it breaks through the "limited" barrier in the regeneration of "destruction" and "creation". It extends the world to the beautiful realm of infinity; it spreads the individual into the boundary of the whole in the integration of metaphor and humor, reaching the same object, self, subject and object, thus touching upon the universe spirit. The unique aesthetic connotation of romantic irony not only enlightens the thinkers at that time, but also gives poetic solutions to the difficult problems of the times, thus showing an important modern aesthetic significance. This paper focuses on the cultural background and basic connotation of Romantic irony, mainly from the following three aspects to discuss the modern aesthetic significance of Romantic irony: First, the industrial civilization established under the Law of reason has promoted the rapid development of natural science and provided convenience for the continuous enrichment of human material life. However, reason also leads to the confusion of human beings towards themselves. The significance of human life is gradually obscured, moral belief and the value of life appear a vacuum. And this contradiction has reached unprecedented levels today, and has brought about a moral and institutional crisis. For this reason, Romantic irony, with its unique "negativity", has become the artistic creative method and survival strategy of reflecting reason, establishing real civilization and moral road. Second, Faugh Schlegel believes that the real contradiction of existence is that we feel our own limits and infinity at the same time, and that the rational world does not provide "both." And... " The paradox of existence leads to some insurmountable contradictions, and ultimately leads to the division of man himself. This has become the common disease of modern people, and the road of redemption is to break through the restrictions of rational society, to lead to infinity and to realize the true spiritual freedom. Romantic irony is the artistic means of "limited" and "infinite", while not exceeding the limit. In this way, the restoration of human nature can be realized and the purpose of poetic life can be achieved. Thirdly, "metaphor" is a symbolism method in the view of Fu Schlegel, and Romantic irony is the synthesis of "metaphor" and "humor", through which the appearance of the whole by the individual is realized. So that the human body will reach the essence of "beauty". In this way, Romantic irony opens up the dawn of mythology for modern art. In short, Romantic irony is not a romantic artistic means to conceal the reality of existence, but an aesthetic view of the increasingly mediocre, conformity and routine of daily life observation, with reflective and rebellious. This reflexivity and rebelliousness question the moral norms under the rule of modern rational law, redeem the phenomenon of self-division of modern people, and provide a new idea for the development trend of the myth of revival of modern art.
【學(xué)位授予單位】：西安外國(guó)語(yǔ)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：I109.9

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 龔敏律;;西方反諷詩(shī)學(xué)在現(xiàn)代中國(guó)的譯介與影響[J];文學(xué)評(píng)論;2007年03期

2 董龍昌;;丑的現(xiàn)代審美意義探微[J];山東文學(xué);2008年01期

3 茅舟;“意境”散論[J];湛江師范學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);1997年02期

4 劉穎;;論霍夫曼藝術(shù)童話《金罐》的復(fù)調(diào)敘事[J];長(zhǎng)春理工大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版);2010年02期

5 耿莉;;重審文學(xué)創(chuàng)作中的浪漫主義反諷批評(píng)[J];文教資料;2008年18期

6 張銳;;淺議德國(guó)浪漫主義反諷詩(shī)學(xué)[J];陜西教育(高教版);2009年03期

7 戴冠青;《雪域金猴》:在新奇有趣的藝術(shù)演繹中弘揚(yáng)真善美[J];福建藝術(shù);2005年05期

8 方文開;;霍桑與浪漫主義反諷[J];外語(yǔ)研究;2007年06期

9 蔣花;;《金色筆記》中關(guān)于自由的反諷[J];譯林;2007年04期

10 吳艷宇;魏晉風(fēng)度的現(xiàn)代審美意義[J];克山師專學(xué)報(bào);2004年04期

相關(guān)重要報(bào)紙文章 前2條

1 賀紹俊;拼貼的現(xiàn)代審美意義[N];文藝報(bào);2001年

2 王寅龍;鳥語(yǔ)花香躍然紙上[N];開封日?qǐng)?bào);2008年

相關(guān)碩士學(xué)位論文 前8條

1 王賽麗;浪漫主義反諷及其現(xiàn)代審美意義[D];西安外國(guó)語(yǔ)大學(xué);2012年

2 葉崇艷;德國(guó)浪漫主義反諷詩(shī)學(xué)初探[D];浙江大學(xué);2008年

3 胡佳佳;試論浪漫主義文學(xué)中的“荒誕”問(wèn)題[D];中南大學(xué);2012年

4 劉冬梅;觸摸恐懼[D];湖南師范大學(xué);2002年

5 李凡;王士禎“神韻”詩(shī)境研究[D];廣西師范大學(xué);2007年

6 雷文彪;論全球化語(yǔ)境下民歌藝術(shù)的生存與發(fā)展[D];廣西師范大學(xué);2007年

7 王萌;梁?jiǎn)⒊の睹缹W(xué)新論[D];山東師范大學(xué);2009年

8 葛卉;傳統(tǒng)與現(xiàn)代的對(duì)話：《滄浪詩(shī)話》的接受理論[D];山東師范大學(xué);2004年

本文編號(hào)：1805871