从文艺学、美学到文艺美学建构——论康德对近现代文艺美学的理论贡献

康德之前,文艺学与美学虽有联系却未构成完整的文艺美学知识体系。直到康德解决了美的本质、艺术的本质、美与艺术的关系、创作与制作的关系、艺术创作的审美特性等基本而重大的理论问题之后,近现代文艺美学才成为一门独立的理论学科。康德之前,西方美学始终存在着美是主观或客观之争。康德认为,美既非客观属性又不是主观意识,美根源于人类的主体判断能力,从而为解决艺术的审美本质问题确立了理论根据。康德相信,美绝非单一维度,而是多种属性的审美文化过程。这样,康德将艺术从传统文艺学的真实性或道德性的本质界定中解放出来,获得了审美活动的本质规定。当艺术被确立为审美活动时,对美的本质的研究就超离了形而上的哲学预设和逻辑推演而进入艺术领域,艺术使美的本质真正回归。康德实际上完成了文艺美学最重要的理论建设工作。

From Literaturwissenchaft, Aesthetics to the Construction of Literary Aesthetics--On the Contribution of Kant to Modern Aesthetics

Although there had existed relation between literaturwissenchaft and aesthetics, yet before Kant, there had not been constructed the holistic knowledge system of literary aesthetics. It was not until Kant solved the fundamental and significant problems such as the nature of beauty, nature of art, relation between beauty and art, relation between creation and production, the aesthetic characteristics of art creation and etc that the modern aesthetics became an independent discipline. Kant emancipated art from the traditional definition on trueness or morality, and took the essential one of aesthetic action instead. It indicates that the study of the nature of art transcends the metaphysical philosophical hypothesis or logical deduction, and enters the field of art. Art makes the nature of beauty return itself. In fact, Kant has accomplished the most important theoretical construction of literary aesthetics.