当艺术理论摆脱模仿外部实在概念时 ,自身就从沉重的枷锁下解放出来 ,无论外部实在被理解为经验和物质实在 (模仿自然 ) ,还是被理解为观念和精神实在 (模仿美质或理想 )。在这两种情况下 ,实在实际上都被视为外在的和超验的 ,结果艺术性能沦为消极的或接受的性能 :这是词语上 When the theory of art emerges from the concept of imitating external reality, it is freed itself from its heavy yoke, whether the external reality is understood as experience and material reality (imitating nature) or as conceptual and spiritual reality (imitating beauty or ideal) . In both cases, reality is actually regarded as extrinsic and transcendental, with the result that the performance of the arts is reduced to negative or accepted performance: this is the term