“理念”与“理想”的张力:论本雅明早期艺术批评观念  

The Tension between“Idea”and“Ideal”:On Benjamin’s Early Concept of Art Criticism

作　　者：孙云霏 SUN Yun-fei

机构地区：[1]北京师范大学文学院,北京100875

出　　处：《求是学刊》2024年第4期170-180,共11页Seeking Truth

基　　金：教育部哲学社会科学研究重大专项项目“西方理论话语的冲击与新时期以来中国当代文论的建构”(2024JZDZ047)。

摘　　要：“理念”与“理想”是德国古典美学的核心概念,本雅明既注重这两个概念的传统,又对其予以创造性发展。它们在本雅明早期艺术批评文本《德国浪漫派的艺术批评概念》与《评歌德的〈亲合力〉》中形成张力。浪漫派以“理念”为核心;歌德则以“理想”为核心。浪漫派以“反思”为方法;歌德则以“直观”为方法。浪漫派针对形式,认为艺术作品是艺术本身的显现之一,批评从单一作品入手展开艺术自身的反思,进而通向艺术理念;歌德则针对内容,认为艺术的纯粹内容或艺术理想即自然,但它无法完全表象于单一作品,只能在表象的中断处揭示。因此,对浪漫派来说批评是可能的,但对歌德来说是不可能的。不过这一定程度上陷入形式-内容的二分,本雅明在之后的艺术批评中发展出更为成熟的“寄喻批评”。The“idea”and the“ideal”are central concepts in classical German aesthetics.Benjamin both invoked the tradition of these two concepts and developed them creatively.They are in tension in Benjamin’s early art criticism texts The Concept of Art Criticism in the German Romantics and A Comment on Goethe’s“Elective Affinities”.The Romantics focuses on the“Idea”,while Goethe focuses on the“Ideal”.The Roman-tics takes“reflection”as it method,while Goethe takes“intuition”as his method.The Romantics concerns with form,considering the work of art to be one of the manifestations of art itself.Criticism begins with a single work and starts a reflection on art itself,which leads to the idea of art.Goethe concerns with content,arguing that the pure content of art or the ideal of art,which is nature,cannot be fully represented in a single work,but can only be revealed in the interruptions of the representation.Therefore,criticism is possible for the Roman-tics,while impossible for Goethe.However,this falls into a form-content dichotomy.Benjamin develops a more sophisticated“allegorical criticism”in his subsequent art criticism.

关 键 词：本雅明 艺术批评 理念 理想 

分 类 号：I06[文学—文学理论] J05[艺术—艺术理论]