如此看来，在一定意义上，波德莱尔眼中的审美现代性 带有反启蒙（anti-Enlightenment）的色彩。因为，他 并没有被现代性的飞速疾驰所完全迷惑而眩晕，而是将 现代性切开了两半，一半是变的，另一半则是不变的。
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有着明显反启蒙立场的尼采为何又声称要唤回启蒙精神？
Why did Nietzsche, as a critique of Enlightenment, claim to call back the spirit of Enlightenment?
作为一个思想史命题的两个面向，反启蒙才是它们共同警惕和防范的对手。
As the two sides of the same subject in ideological history, anti-enlightenment is their common rival they should be alert against.
本文则将梅斯特的思想置于“反启蒙”的框架中，从“文明与野蛮”的角度切入，展开讨论。
This dissertation thus puts his thoughts in the counter-enlightenment backdrop and discusses them from the perspective of "barbarism and civilization".
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