摘要
席勒富有创造性地提出“游戏冲动”说,将艺术判断与艺术创造视为沟通现实和理想,平衡感性和理性的桥梁和中介,从而使“游戏”与自由,与艺术具有了内在的相关意义和强烈的“超越性”追求。同时,席勒的“游戏冲动”说仍然受制于当时的社会历史条件而与德国古典美学,尤其是康德的美学思想有着千丝万缕的联系,其对现实的“超越”往往以一种逃避乃至背向现实的精神慰藉为目的,带有精神“乌托邦”性质。因此,席勒的“游戏冲动”说又蕴涵着某种矛盾因子。就当代文化意义而言,游戏更接近于后现代的话语场,而有别于席勒以降的古典和现代主义美学理念和话语体系。
Schiller puts forward creatively in his ?game impulse ?theory that artistic assessment and creation can be looked on as a bridge between the practical world and the ideal world or a medium between perceptive knowledge and rational knowledge and thus associated ?game?internally with freedom and art and make it pursue kind of ?transcendent?goal while on the other hand. Schiller抯 this theory is contradictory because it was deeply confined by the social, historical condition of his time and therefore it connected deeply with classic German aesthetic theory especially that of kant抯. Its 搕ranscend?over the reality is actually kind of escape from or betray to the real world and therefore it is utopian. So far as its cultural significance is concerned, game can be looked on more as a post-modern field of discourse and is different from the classic and contemporary aesthetic concept and discourse system.
出处
《武汉科技学院学报》
2002年第2期5-8,共4页
Journal of Wuhan Institute of Science and Technology
