摘要
托尔斯泰的《艺术论》作为世界一流小说家比较系统的艺术理论著作,以呼吁艺术同美脱钩,专事情感交流,且以宗教性和世界性为伟大作品的标准,在19世纪美学中独树一帜。《艺术论》在中国的接受,以1921年、1958年和2005年的三个中译本为界,可分别以人生的艺术、宗教意识批判,以及意识形态的重新认可为其标识。可以说,《艺术论》在中国的接受史,大体也反映出中国一百年以来文艺理论的基本走向。
Tolstoy＇s work What Is Art, as a systematic theoretical text written by a world-class critic on novel writing, requires the detachment between art and aesthetics, so that art is solely dedicated to emotional communication, and takes religion and international nature as the criteria for masterpieces. This theory stood out among the various schools of aesthet- ics in the 19＇h century. The reception of ＂What is Art＂ in China＂ underwent three stages marked by the three versions of its translation into Chinese in 1921, 1958 and 2005, focusing respectively on ＂Art for Life＂, criticism of religious conscious- ness, and renewed recognition of ideology. It can be said that the reception of the book What is Art in China can generally be used to chart the evolution of art theories in China for the past 100 years.
出处
《江苏行政学院学报》
CSSCI
北大核心
2012年第3期39-44,共6页
The Journal of Jiangsu Administration Institute
