摘要
新批评代表人物兰色姆自称继承了康德思想,但其"诗歌本体论"却对康德美学实施了改造。从艺术自律论看,康德"美的无功利说"强调审美愉悦的主观普遍可传达性,兰色姆则认为诗歌作为独立的价值领域应重建客观的、异质的"世界肉体"。从语言论看,康德"艺术美"通过感性想象力与智性概念的协同发动、在追求概念的完善性中企及"理性理念"的象征,而兰色姆以诗歌"肌质"所代表的感性话语对抗概念确定性的"构架",推崇意义的多种可能性和含混。从认识论看,康德将审美导向主观普遍性,艺术与科学共同将人类引向超验的理性世界,而兰色姆则坚持以艺术的感性和具体性反对科学理性,强调诗歌超越并取代科学认识世界本真的能力。康德美学主张中的"以美启真"发展为兰色姆的"以美代真",反映出美国南方农业主义者以保守的地方主义美学对抗进步理性和工业化的努力。
John Crowe Ransom,a leading new critic and self-claimed Kantian,reworks The Critique of Judgment into his theory of poetic ontology.Concerning artistic autonomy,Kant emphasizes the subjective and universal communicability of aesthetic pleasure while Ransom plays up the objective but heterogeneous"world’s body"recreated in poetry.Concerning the artistic language,Kant’s ideal art integrates imagination and understanding into a joint pursuit of the perfection of concepts,which aims at representing aesthetic ideas as symbolic of ideas of reason,while Ransom’s poetic texture upholds aesthetic discourse as a way to generate indeterminate meanings as against determinate meanings in the conceptual framework of poetry.
出处
《国外文学》
CSSCI
北大核心
2021年第1期10-19,156,共11页
Foreign Literatures
