从媒介功能考察美典类型——论高友工对莱辛诗画论的修正  

Investigating Aesthetic Types from Art Medium:On Yu- kung Kao's Revision to Lessing's Theory of Poetry and Painting

作　　者：石了英[1] 

机构地区：[1]佛山科学技术学院文学院,广东佛山528000

出　　处：《南昌大学学报（人文社会科学版）》2015年第6期128-134,共7页Journal of Nanchang University(Humanities and Social Sciences)

基　　金：广东省哲学社会科学规划共建项目"高友工文艺美学思想研究"(GD14XZW12);广东省普通高校优秀青年创新人才培养计划项目"中国抒情传统现代建构的学术史考察"(2014WQNCX126);佛山科学技术学院优秀青年教师培养项目"高友工与中国抒情学的海外建构"(FSYQ-201401)

摘　　要：莱辛在《拉奥孔》中的核心观点可以提炼成"媒介决定论"和"诗画异质论"。高友工从艺术媒介考察美典类型,认为每种艺术媒介都有"代表现实"和"象征心象"两种功能,充分发挥了媒介"象征心象"功能的抽象性艺术才是抒情艺术,这种认识拓展深化了莱辛的"媒介决定论"。对莱辛的"诗画异质论",高友工借取西方乐论反观中国抒情诗(律诗),着重论述了中国抒情诗的"空间象征性",不仅修正了莱辛将叙事诗当成诗的认识偏限,而且将中国抒情诗以时间性的艺术媒介展现一个心理空间架构的特质揭示出来。The core point of Lessing＇s Laocoon can be refined into＂media determinism＂and＂heterogeneity of poetry and painting＂. Yu- kung Kao investigates it from art medium aesthetic types and concludes that each art medium should have two features ＂represent reality＂and ＂symbolic emotion＂,which completely explains the function of ＂symbolic emotion ＂as lyric art. This deepens Lessing ＇s ＂media determinism ＂. With regards to Lessing ＇s＂heterogeneity of poetry and painting＂,Yu- kung Kao examines western music theory and Chinese regulated verse,and emphasizes ＂spacial symbolism＂of Chinese lyrics. In this way,Lessing＇s biased views of narrative poetry as poetry is reverted. Meanwhile,Chinese lyrics with its time and psychological spatial features is revealed.

关 键 词：高友工 莱辛 中国抒情诗 抒情美典 艺术媒介 

分 类 号：I052[文学—文学理论]