耶拿派以诗为轴的艺术理论  

Art Theories Focusing on Poetry of Jena Genre in Germany

作　　者：周小莉[1] ZHOU Xiao-li(School of Chinese Literature,Lanzhou University,Lanzhou 730020,China)

机构地区：[1]兰州大学文学院,甘肃兰州730020

出　　处：《兰州文理学院学报（社会科学版）》2022年第6期39-44,共6页Journal of Lanzhou University of Arts and Science(Social Science Edition)

基　　金：2020年度甘肃省社科规划项目“当代诺奖小说的叙事艺术对甘肃小说‘走出去’的启示”(20YB077)。

摘　　要：作为德国早期浪漫派的代表,“耶拿派”的艺术理论来自于克服近代哲学中主客分裂缺陷的诉求。在这一诉求的引导下,其代表人物将“诗”作为解决问题的关键,此“诗”并非一种具体的文学体裁,而是一种观照世界的方式。通过这种方式,主体得以返归“无限”并与客体达到同一。在这种诗学观的基础上,耶拿派诗人提出了与之相应的文体观和语言观,形成了一个以诗为轴的艺术理论体系。虽然该理论很快便广受诟病,但其中包含的若干观念是理解欧洲浪漫主义乃至后世诸多文学观念的重要资源。As a representative of the early romanticism in Germany, Jena Genre’s art theories comes from the appeal of overcoming the defect of the division between subject and object in modern philosophy. Under the guidance of this appeal, its representative figures take “poetry” as the key to solve the problem. This “poetry” is not a specific literary genre, but a way of observing the world. In this way, the subject returns to infinity and comes to identity with the object. On the basis of this poetical view, the poets of Jena Genre put forward their corresponding views of style and language, and formed a poetic system of art theories. Although the theories were soon widely criticized, some ideas contained in it are important resources for understanding European Romanticism and many later literary ideas.

关 键 词：耶拿派 诗 艺术理论 

分 类 号：I052[文学—文学理论]