“越界”之美:佩特的音乐隐喻与瞬间性美学  

“Anders-Streben”:Pater's Metaphor of Music and“Aesthetic Moment”

作　　者：谢娟[1] XIE Juan

机构地区：[1]中国政法大学外国语学院

出　　处：《国外文学》2024年第1期118-128,共11页Foreign Literatures

基　　金：中国政法大学科研创新引导专项项目“19世纪欧美音乐小说研究”(项目编号:20ZFY75002)的阶段性成果。

摘　　要：“所有的艺术都渴望企及音乐的情状”,这是沃尔特·佩特关于音乐的阐述中被学界引用最为广泛的一句话。在此表述背后是佩特独特的“越界”手法和关于瞬间性美学的理念与实践。不论是现代性条件下个体的自我塑造,还是整体性社会氛围的营造,都离不开文化资源与智性资源的整合一途,而“越界”便是此资源整合的内在要求和必然结果。本文以《文艺复兴》尤其是《乔尔乔内画派》为主要文本,探究佩特“越界”手法的具体运作和瞬间性美学的具体呈现。Among Pater's statements about music,“All art constantly aspires towards the condition of music”is universally acknowledged as the most famous one.Behind this most-quoted statement is Pater's aesthetic idea about“Anders-streben”.Whether it be the individual's self-fashioning under modern conditions or the establishment of harmonious(or musical)cultural ambience,the integration of various cultural and intellectual resources is indispensable.“Anders-streben”is the innate necessity of such integration.This paper concentrates on The Renaissance,especially“The School of Giorgione”,to explore how the idea of“Anders-streben”comes into being and how Pater puts it to use in his aesthetic interpretation.

关 键 词：“越界” 音乐 瞬间性美学 

分 类 号：I01[文学—文学理论]