| 解读"有意味的形式" |
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| 引用本文： | 潘繁生.解读"有意味的形式"[J].淮阴师范学院学报(哲学社会科学版),2001,23(1):126-130. |
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| 作者姓名： | 潘繁生 |
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| 作者单位： | 淮海工学院,中文系,江苏,连云港,222005 |
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| 摘 要： | 凡是用来恰如其分地表现、传达或寄托艺术家主体内在生命并富于创造的形式即为"有意味的形式".克莱夫·贝尔在其<艺术论>中造成自身理论逻辑矛盾的一个根本原因,在于没有分清何谓"形似",何谓"写实".
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| 关 键 词： | "有意味的形式" 反写实 变形 抽象 主观创造 内在真实 |
| 文章编号： | 1007-8444(2001)01-0126-05 |
| 修稿时间： | 2000年9月16日 |
Interpretation of the"Significant Form" |
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| PAN Fan,sheng.Interpretation of the"Significant Form"[J].Journal of Huaiyin Teachers College(Social Sciences Edition),2001,23(1):126-130. |
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| Authors: | PAN Fan sheng |
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| Abstract: | The form which is creative and can be used to express and convey the artist's inner life in an appropriate way is called the "significant form". A fundamental cause for the contradiction in Clive Bell's theory in his own works, "On Art", lies in his failure in telling form similarity from realistic writing. |
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| Keywords: | significant form" anti realistic writing transformation abstraction subjective creation inner truthfulness |
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