语文网-语言文学网-读书-中国古典文学、文学评论、书评、读后感、世界名著、读书笔记、名言、文摘-新都网移动版

首页 > 学术理论 > 文艺理论 >

再现危机与当代现实主义观念(3)


    参考文献:
    [1]考夫卡:《艺术与要求性》,李普曼编:《当代美学》,邓鹏译,第 415—416 页,光明日报出版社 1986 年版。 
    [2]Mathew Arnold,Culture and Anarchy,Cambridge:Cambridge University Press,1932,p.131. 
    [3][33]The New Oxford Dictionary of English,ed. by JudyPearsall,Oxford:Oxford University Press,1998,p.1544,p.1588. 
    [4]Eric Auerbach,“Romanticism and Realism”,in Time,History,and literature:Selected Essays of Eric Auerbach,ed. by James I. Porter,Princeton:Princeton University Press,2014,pp.144-145. 
    [5][7][8]Eric Auerbach,Mimesis:The Representation of Reality in Western Literature,Princeton:Princeton University Press,2003,p.481,p.23,p.482. 
    [6]See The George Sand-Gustave Flaubert Letters,Charleston:Nabu Press,2010,p. 222. 
    [9]Wayne C. Booth,The Rhetoric of Fiction,Chicago:University of Chicago Press,1983,p.8. 
    [10][25]雅各布森:《主导》,任生名译,赵毅衡编选:《符号学文学论文集》,第 9—10 页,百花文艺出版社 2004 年版。 
    [11]José Ortega y Gasset,“The Dehumanization of Art”,in Criticism:Major Texts,ed. by J. W. Bate,New York:Harcourt Brace Jovanovich,1970,p.661. 
    [12]杰姆逊:《后现代主义与文化理论》,唐小兵译,第161 页,陕西师范大学出版社 1988 年版。 
    [13]Winfried Nöth,“Crisis of representation ?” in Semiotica,Vol.143,1/4 (2003),pp.9-10. 
    [14]See Arthur Danto,“The Artworld” ,in Aesthetics:The Big Questions,ed. by Carolyn Korsmeyer,Oxford:Blackwell,1999. 
    [15]Gustave Courbet,“Letter to Young Artists”,in Art in Theory:1815-1900,ed. by Charles Harrison and Paul Wood,Oxford:Blackwell,1998,pp.403-404. 
    [16]Maurice Denis,“Definition of Neo-Traditionism”,in Art in Theory:1815-1900,ed. by Charles Harrison and PaulWood,p.863. 
    [17]陈侗等编:《与实验艺术家的谈话》,第 106 页,湖南美术出版社 1993 年版。 
    [18]转引自韦勒克:《近代文学批评史》第 4 卷,杨自伍译,第 11 页,上海译文出版社 1997 年版。 
    [19]傅杰编校:《王国维论学集》,第 319—320 页,中国社会科学出版社 1997 年版。 
    [20]Ernst Gombrich,Norm and Form:Studies in the Art of the Renaissance,London:Phaidon,1966,p.94. 
    [21][32]Nelson Goodman,Ways of Worldmaking,Indianapolis:Hackett,1978,pp.101-102,p.131. 
    [22][23]王尔德:《谎言的衰朽》,杨恒达译,赵澧、徐京安主编:《唯美主义》,第 144 页,第 129 页,中国人民大学出版社 1988 年版。 
    [24]Victor Shklovsky,“Art as Technique”,in The Critical Tradition:Classic Texts and Contemporary Trends,ed. by David H.Richter,New York:St. Martin’s,1989,p.741. 
    [26]Walter H. Pater,The Renassance:Studies in Art and Poetry,New York:Dover,2005,p.92. 
    [27]See Clement Greenberg,“Modernist Painting”,in 20th Century Theories of Art,ed. by James M. Thomapson,Ottawa:Carleton University Press,1999. 
    [28]柯尔立治:《文学生涯》,刘若端编:《十九世纪英国诗人论诗》,第 63 页,人民文学出版社 1984 年版。 
    [29]Quoted in Todd Alden,The Essential of Rene Magritte,New York:Abrams,1999,p.95. 
    [30]See Alfred H. Barr Jr.,Picasso:Fifty Years of His Art,New York:Arno Press,1980,p.57. 
    [31]Quoted in Jean-François Vernay,The Seduction of Fiction:A Plea for Putting Emotions Back into Literary Interpretation,London:Palgrave,2016,p.53. 
    [34]Brecht on Theatre:Development of An Aesthetics,ed. John Wellit,New York:Hill & Wang,1964,p.233. 
    [35]Edwin Willson,The Theater Experience,New York:MaGraw-Hill,1994,p.56. 
    [36]Roland Barthes,S/Z,Oxford:Blackwell,1990,p.5. 
    [37]Ernst Gombrich,Art and Illusion,London:Phaidon,1961,p.69. 

(责任编辑:admin)