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中国当代美学,在翻遍马克思恩格斯的著作找不到一部系统专门的马克思主义美学论著后,黑格尔成了一个替代,其中介,便是对马克思《1844年经济学-哲学手稿》(以下简称《手稿》)的片面解释。人们在论述和阐发《手稿》思想时,大量搬用了黑格尔的美学思想,在“人化”、“对象化”、“感性显现”的概念圈子中捣腾。文艺创作和审美的许多实际问题被搁置一边,美学悬浮在远离物质人的高空构筑概念。以致于形成了这样的尴尬局面:要么谈美不谈艺术,要么谈艺术不谈美,一旦把两者联系起来,却怎么也找不到逻辑的起点。美学走过八十年代的鼎盛高潮正面临危机。要想走出困境,必须先走出黑格尔。
After Chinese contemporary aesthetics and Marx’s and Engels’s writings can not find a systematic and specialized Marxist aesthetics, Hegel becomes an alternative. The intermediary is a reference to Marx’s Economics-Philosophy Manuscripts in 1844 ( Hereinafter referred to as “manuscript”) one-sided explanation. When discussing and expounding the thought of “manuscript”, people use a lot of Hegelian aesthetic ideas in the circle of concepts of “humanization”, “objectification” and “perceptual appearance”. Many practical problems of literary creation and aesthetic appreciation have been put aside. Aesthetics has been suspended in the concept of high-altitude construction away from material people. So that the formation of the embarrassing situation: either talk about beauty talk about art, or talk about art does not talk about beauty, once the two linked, but how can not find the starting point of logic. Aesthetics After the heyday of the eighties is facing a crisis. To get out of the woods, you must first get out of Hegel.