浪漫主义美学:诗歌、艺术与自然(笔谈)  

Rereading Romanticism( Remarks)

作　　者：陈太胜[1] 王艺涵[2] 耿韵 CHEN Tai -sheng

机构地区：[1]北京师范大学文学院,北京100875 [2]河南大学新闻与传播学院河南大学影视艺术研究所,河南开封470001 [3]北京外国语大学外国文学研究所,北京100089

出　　处：《郑州大学学报（哲学社会科学版）》2018年第6期1-4,155,共5页Journal of Zhengzhou University:Philosophy and Social Sciences Edition

基　　金：教育部人文社会科学重点研究基地重大项目"中国近现代文论话语的转型和嬗变研究"(项目编号:17JJD740002)

摘　　要：不仅在文学史的层面上,同样也在思想史的意义上,浪漫主义美学与之后的一切时代都具有一种深刻的同时代性。人们能够在现代主义艺术乃至后现代文化观念中重新发现它。也就是说,作为一个流派的浪漫主义虽已成为历史,但作为一种特殊的感知方式和认知方式的浪漫主义渗透到直至当下的文化创造之中,甚至已经成为一种可以不断重启的感性动力或文化驱力。在这组文章中,陈太胜在诗学层面讨论了浪漫主义与现代主义美学之间的复杂关系,王艺涵的文章重新审视了浪漫主义美学观所涉及的诸多艺术层面的问题,耿韵的文章则从风景意识的诞生论述了浪漫主义对自然与主体关系的发现。由此可见,浪漫主义美学所具有的同时代性,意味着每个时代的思想都需要对它做出创造性的回应。Editor's Note:Romanticism as a genre has already become the past,but it,as a special way of perception and cognitive style, has functioned as a perceptual dynamic or cultural driving power that can be constantly restarted.In this series of articles,Chen Taisheng has discussed the complicated relationship between romanticism and modernist aesthetics at the poetic level;Wang Yihan has reviewed many of the artistic aspects involved in the aesthetic view of romanticism;Geng Yun has elaborated the relationship between nature and the subject of romanticism by discussing the birth of landscape consciousness.It can be seen that the aesthetic concept of ro- manticism has not only influenced the field of literature and art,but also has already penetrated into the space of thought and percep- tion,and the contemporaneous nature of romantic aesthetics is calling for the creative response from ideas from each era.

关 键 词：浪漫主义 关学 艺术 风景 自然 

分 类 号：I561.072[文学—其他各国文学]