摘要
德国古典美学提供了以谢林的“复返”模式和黑格尔的解体模式为代表的两种有关文类发展的富有民族特色的演绎模式。其间昭示出的所谓文学艺术的死亡或终结论只是指涉艺术、宗教、哲学三者对于人类认识生活的不同位置关系而已。文类学视角下艺术终结论的新解，构成了某种对艺术至上论、艺术万能论的否定，这种否定行为又是缘于对自启蒙运动以来高涨的热衷夸大艺术审美教育效果之风的反动。
Abstract
From the perspective of German classical aesthetics, there are two major development modes, rich in national charac-teristics, on literary types:one is Schelling's“return” mode and the other Hegel's“disintegration” mode.As a matter of fact, the death of literary and art, or theory of end, reflects the different position and relation of art, religion and philosophy towards human's understanding on life.The interpretation on end of art theory from the perspective of genology, to some extent, be-comes a denial to the artistic supremacy theory and the universal theory of art, which in turn results from the counteraction to the exaggerated absorption in the educational influence on artistic aesthetics.
基金项目
教育部全国优秀博士学位论文作者专项资助项目(201010)
并得到教育部“新世纪优秀人才支持计划”(NCET－12－0746)
江苏省高校优势学科建设工程(PAPD)()
扬州大学“高端人才支持计划”资助()
NETL
NSTL
万方数据