论如画与道德  

On the Picturesque and Morality

作　　者：章辉[1] Zhang Hui(Research Center for the Film and Television Culture and Development,China Three Gorges University,Yichang 443002,China)

机构地区：[1]三峡大学影视文化与发展研究中心

出　　处：《外国文学研究》2023年第3期18-31,共14页Foreign Literature Studies

基　　金：国家社会科学基金后期资助项目“如画:英国美学理论与艺术思潮”(22FZXB063);湖北省普通高校人文社科重点研究基地影视文化与产业发展研究中心项目“当代西方视觉艺术理论与中国美学原理的建构”(2022yskf01)。

摘　　要：在如画美学的建构期,美学家主张审美和道德的隔离和相互独立;19世纪,罗斯金在绘画批评中引入道德维度,文学家在小说中批评如画趣味,回归道德意识。如画美学和艺术以独特的方式呈现了审美和道德的复杂关系。审美是否可能和应该独立于道德,是否促进了道德,如画美学以典型个案给出了答案。英国现代文艺中的这一问题给中国当代的文艺伦理学基本理论建设提供了参考和借鉴。During the constructional period of aesthetics of the picturesque,estheticians advocated isolation and independence between aesthetics and morality.In the 19th century,Ruskin introduced a moral dimension into painting criticism,while literary writers criticized the picturesque taste in novel writing,thus initiating a return to moral consciousness.Aesthetics and art of the picturesque present the complex relationship between aesthetics and morality in a unique way.For the questions whether aesthetics can and should be independent of morality and whether it promotes morality,aesthetics of the picturesque offers an answer with a typical case.Such an issue in modern English literature and art provides a useful reference and a good lesson for constructing the basic theory of ethics in contemporary Chinese literature and art.

关 键 词：如画 美 崇高 道德 

分 类 号：I0-05[文学—文学理论]