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.
出处
《国外文学》
北大核心
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。
