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作 者:刘慧姝[1,2]
机构地区:[1]华南师范大学文学院 [2]中山大学
出 处:《中国社会科学院研究生院学报》2012年第4期98-102,共5页Journal of Graduate School of Chinese Academy of Social Sciences
基 金:国家社科基金青年项目"克尔凯郭尔文艺思想及其当代意义"的阶段性成果;项目编号为07CZW004
摘 要:克尔凯郭尔运用间接沟通的方式传达其生存思想与审美内蕴。克氏不断颠覆世俗所认定的价值系统与审美人生,而重建一个新的体验和审美,尽管他的目的不是去重建,其审美的真正意义落实在字里行间对读者的引导。克氏要抛弃的是一种异化的审美,而追求审美的真正本性,即与生存相协调的审美。如果抛开克氏思想中的宗教倾向,其真正的审美境界乃是为了揭示生存的本真境遇,使人们从沉沦状态中觉醒,从而回归自我,实现真正的精神自由。Kierkegaard took the indirect communication way to express his existence thoughts and aesthetic connotation. Kierkegaard kept on overturning what the secular believe about judgment system and aesthetic life, and reconstructed new experience and aesthetics, although his intention is not to reconstruct. The true meaning of his aesthetics lied in guiding the readers through reading between the lines. This article examines his aesthetic thoughts from three perspectives: how the indirect communication makes it possible, the form of the indirect communication and its nature. Kierkegaard wanted to give up some kind of alienated aesthetics, and pursued the true nature of aesthetics, i.e. some kind of aesthetics that is harmonious with existence. If throwing away the religious intention from Kierkegaard's thoughts, his real state of aesthetics was to show the real circumstances of existence and awoke people from the sinking mode, so that one can return to oneself and realize the true spiritual freedom.
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