论文部分内容阅读
作者在这篇评述西方资产阶级美学理论之一“表现论”的历史的文章中,一方面不得不承认旧的唯心主义的“表现论”已经行不通,另一方面却宣扬了“艺术象征论”,把它说成是“晚近的重大成就”,是“唯一有效和有前途的”。其实,所谓“艺术象征论”,只不过是把现代资产阶级“语义学理论”与旧的“表现论”结合起来而已。作者自己也明白地承认这种“理论”是把旧的“表现论”的两个极端,即“表现”和“意指”,加以“折衷”、“调和”,并且给予“新的解说”罢了。这就可以看出,它在本质上和“表现论”并没有区别,同样是主观唯心主义的。事实上,“语义学派”的“美学观”认为一切艺术仅仅是“象征感情的符号和形式”,从而根本否定了艺术应当反映现实生活。这种“理论”只能使艺术创作走上脱离现实的形式主义道路。
In this essay on the history of “Expressionism,” one of the theories of Western bourgeois aesthetics, the author has to admit that the “idealism” of the old idealism has not worked, and on the other hand, he has promoted the “symbolism of art ”, Describing it as“ a recent significant accomplishment ”is“ the only valid and promising one. ” Actually, the so-called “theory of artistic symbols” merely combines the “semantic theory” of the modern bourgeoisie with the old “performance theory.” The author himself clearly recognizes that this “theory” is to “compromise” and “reconcile” the two extremes of “expressionism” and “expression” and “meaning,” and give “new explanation” Nothing more It can be seen that it is essentially no different from “expressionism” and is equally subjective idealistic. In fact, the “semantics school” aesthetic view holds that all art is merely “the symbol and form of symbolic feelings,” thus fundamentally negating that art should reflect real life. This kind of “theory” can only make the artistic creation embark on a formalistic path out of reality.