《玉石人像》的审美现代性  

On Aesthetic Modernity of Jade Portrait

作　　者：牛晋玉 李时学[1] NIU Jin-yu;LI Shi-xue(School of Marine Culture and Law,Jimei University,Xiamen Fujian,361000)

机构地区：[1]集美大学海洋文化与法律学院,福建厦门361000

出　　处：《山西大同大学学报（社会科学版）》2022年第4期62-66,共5页Journal of Shanxi Datong University(Social Science Edition)

基　　金：国家社会科学基金项目“美国左翼戏剧的多元批判向度与国家认同研究”(19BWW065)。

摘　　要：长篇小说《玉石人像》展现了社会现代性和审美现代性之间的矛盾和张力,表现了审美现代性对社会现代性的反叛和颠覆。纳撒尼尔·霍桑力图在艺术中重建现代性主体,构建一种理想的审美生存方式,小说中对社会现代性的反思与批判,对回归自然与天性、宗教衰落与道德复位等问题的思考,呈现了极具前瞻性的审美现代性观念。The novel Jade Portrait shows the contradiction and tension between social modernity and aesthetic modernity, and shows the rebellion and subversion of aesthetic modernity to social modernity. Nathaniel Hawthorne tries to rebuild the main body of modernity in art and construct an ideal way of aesthetic survival. In the novel, the reflection and critique of social modernity, the thinking on returning to nature, religious decline and moral restoration, present a very forward-looking concept of aesthetic modernity.

关 键 词：《玉石人像》 自然 宗教 审美现代性 社会现代性 

分 类 号：I106[文学—世界文学]