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西方马克思主义美学的形式观有四条脉络:以审美反映论和整体性思想为基础追求形式结构整一性(卢卡契、戈德曼),在艺术和意识形态的差异关系中揭示非中心的结构(阿尔图塞、马舍雷),弘扬审美形式(技术)作为艺术和现实的中介所起的否定性超越性的作用(本雅明、马尔库塞、阿多诺),用辩证思维将艺术形式和政治历史背景结合起来(詹姆逊)。其总体特征是抛弃传统思想的内容和形式两分法,或在整体性框架内,或在审美活动的中介意义上,致力于形式和内容、自律与他律的统一。形式、结构不但是重新思考艺术和意识形态的复杂关系的突破口,更承担了批判资本主义工业文明、恢复人性和谐的审美救赎的历史重任。对形式与内容的相互转换关系、形式的独立审美价值和认识论价值、形式作为幻象世界具有的疏离否定现实的社会学政治学意义、形式构造与意识形态的复杂关系的精到论述,是西方马克思主义美学的重要精神遗产。
Western Marxist aesthetics has four lines: the pursuit of the unity of formal structure (Lukacs, Goldman) based on aesthetic reflection and holistic thinking, revealing the noncentral structure in the differential relationship between art and ideology (Althusser, Marcellet), the role of negative transcendence of the aesthetic form (art) as an agent of art and reality (Benjamin, Marcuse, Adorno) Combined with political and historical background (Jameson). Its general feature is to abandon the dichotomy between the content and the form of traditional ideas or to unify the forms and contents, self-discipline and other disciplines within the overall framework or in the mediation sense of aesthetic activities. Form and structure not only serve as a breakthrough point in rethinking the complex relationship between art and ideology, but also bear the historical responsibility of criticizing the industrial civilization of capitalism and restoring the harmonious redemption of human nature. On the relationship between form and content conversion, the form of independent aesthetic value and epistemological value, the form as a phantasy world has to alienate the reality of the sociology of political science significance, formal construction and ideological complex relationship elaborate discourse, the Western Marx The important spiritual legacy of Aesthetics.