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从自律/他律的美学指向重新探析布莱希特美学,更能凸显其理论张力。在与俄国形式主义的比较中,可以看出布莱希特的“陌生化”在形式本体基础上的政治意味和批判色彩。布莱希特关于艺术的娱乐与教育功用的统一、艺术与现实等方面的理论阐述体现其“自律与他律”问题上的复杂和辩证。对艺术自律与他律问题的探析触及到许多现代性的艺术命题,足见其对于20世纪美学(甚至整个美学史)的重要意义。
From the perspective of self-discipline and other aesthetics, we can reexamine Brecht’s aesthetics and even better highlight its theoretical tension. In comparison with Russian formalism, it can be seen that Brecht’s “defamiliarization ” has the political meaning and critical color on the basis of the formal ontology. Brecht’s theory of the unity of entertainment and education in art, art and reality expounds the complexity and dialectics of his “self-discipline and other laws.” The analysis of the problem of self-discipline and law of nature touches on many artistic propositions of modernity, which shows its significance to the 20th century aesthetics (and even the entire history of aesthetics).