论文部分内容阅读
现代修正主义分子卢卡契在这本著作中,披着马克思主义外衣,假装“批判”唯心主义美学,实际上却竭力歪曲马克思主义,大肆宣扬他的修正主义美学观点。他在这本书中,自始至终避而不谈艺术的阶级性,完全抹煞马克思主义关于艺术的产生、发展及其社会作用的阶级分析的观点,否认重大的社会矛盾和社会问题在艺术创作中的重要地位,而公然宣称“人类日常生活中的行为是最重要的”。这就非常明显地暴露出他要以资产阶级的艺术观来冒充马克思主义美学。同时,他借口维护“人类思想的伟大传统”,把马克思主义说成是“黑格尔—马克思”学说,并对斯大林和斯大林时代进行了恶毒的攻击,企图强调无批判地继承过去,以此来抹煞马克思主义的革命性。
In his book, the modern revisionist Lukacs pretended to be Marxist and pretended to “critique” the idealist aesthetics, in fact trying to distort Marxism and hype his revisionist aesthetic point of view. In this book, he avoided the class nature of art all along, completely obliterated Marxist class analysis of the emergence and development of art and its social role, and denied the importance of major social contradictions and social issues in artistic creation Status, and openly proclaims that “human behavior in daily life is the most important.” This shows very clearly that he wants to pretend Marxist aesthetics with the bourgeois artistic concept. At the same time, on the pretext of safeguarding the “great tradition of human thought,” Marx described Marxism as a “Hegel-Marx” doctrine and viciously attacked Stalin and Stalin in an attempt to emphasize that he inherited the past without criticism. To erase the revolutionary Marxism.