现代性视域中的艺术诸问题——波德莱尔的艺术论  

Several Problems of Art in the Context of Modernity:Baudelaire's Art Opinion

作　　者：李世涛[1] 

机构地区：[1]中国艺术研究院马克思主义文艺理论研究所,北京100029

出　　处：《艺术百家》2012年第3期92-96,172,共6页Hundred Schools In Arts

基　　金：2011年度国家社科基金艺术学项目"现代性视域中的西方艺术思潮"(项目编号:11BA010)阶段性成果之一

摘　　要：波德莱尔较早地提出并运用了"现代性"概念,它强调了现实的瞬间的美的重要性,其实质是审美现代性,他的现代性理论反映了其美学思想,也是其重要的有机组成部分;他的美学理论主要强调审美主体与自然的应和、美的独立性、从丑恶中发掘美,希望追求现象背后的美及其表现的无限、永恒;他把对美的追求自觉地贯穿于艺术实践活动中,他的艺术论是其美学理论的展开、发展、补充和最终落脚点,他详细论述了现代艺术对艺术家、想象、灵感的要求;也为我们清理他与浪漫主义的关系提供了新的思路和可能。Earlier, Baudelaire proposed and used the conception ＂modernity＂ which stressed the significance of momentary beauty. As a matter of fact, it was an aesthetic modernity. His modernity discourse was an important and indispensable part of his aesthetic thoughts. He paid much attention to aesthetic subject and independency of beauty. He was good at finding beauty out of ugliness. He observed and represented beauty and eternity hidden in phenomena. He consciously pursued beauty in his artistic practice. That is to say, his art opinion further developed his aesthetic theory. He expounded upon artists, imagination, and inspiration. His modernity discourse and art opinion also provided a new possibility for us to clarify his relation to romanticism.

关 键 词：艺术理论 波德莱尔 现代性 美论 艺术论 浪漫主义 文化特征 

分 类 号：J0[艺术—艺术理论]