论莱辛《拉奥孔》中“诗”与“画”的界限  

Discussion on the Boundary between Poems and Paintings in Lessing's Laokoon

作　　者：王瑞[1] 

机构地区：[1]伊犁师范学院外语系,新疆伊宁835000

出　　处：《伊犁师范学院学报（社会科学版）》2011年第1期101-104,共4页Journal of Yili Normal University

基　　金：伊犁师范学院2009年青年项目<莱辛〈拉奥孔〉之诗画理论研究>(2009-41)阶段性成果

摘　　要：莱辛是18世纪德国启蒙运动的杰出代表、优秀的剧作家、文艺批评家,其著作《拉奥孔》从媒介、题材以及审美感受三方面阐明了诗与画的特殊规律,同时提出了诗与画的不同美学原则以及艺术规律,批判了"诗画一致"说。莱辛诗画理论的出发点与他所倡导的启蒙运动密切相关,他大力倡导建立统一的德意志民族文化,进而为资本主义的发展在思想上扫清道路。莱辛的理论和实践促成了德国启蒙运动的高潮,为德国民族文学的建立和发展起了巨大的推动作用。Lessing,as an outstanding representative of The Enlightenment in18th century,a famous playwright and an art critic,clarified the boundary between poems and paintings through medium,theme and esthetic feeling in his Laokoon,and put forward different esthetic principles and laws of poems and paintings,which criticized the opinion of communality of poems and paintings.The starting point of Lessing＇s theory had a close relationship with The Enlightenment.As one of the leaders of German Enlightenment,he initiated to build a unified national culture of Germany and to promote the development of capitalism.His theory and practice caused the climax of The Enlightenment in Germany and strongly promoted the establishment and development of German literature.

关 键 词：莱辛 拉奥孔 诗画理论 启蒙运动 

分 类 号：I106[文学—世界文学]