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新马克思主义美学通过将审美与作为整体的社会联系起来,用一种充满活力的方式揭示了诸如艺术哲学、自然美学和日常生活审美化理论之类的美学的主要领域。它预见了艺术通过在日常生活中的实现而被扬弃,最终成为人类生活的富足状态。新马克思主义美学的主要倾向在于,根据艺术对社会导向和文化导向所产生的重要改变来讨论和阐明艺术的作用。这种对于将艺术深植于社会之中的关切,使得新马克思主义美学具有高度的适时性。新马克思主义美学的优越性,在于它看到了现代社会总是具有两面性。它之所以优于其他学派如实用主义或解释学,在于它用这样一种方式来反思艺术,即艺术既在社会领域之内又在社会领域之外而存在,艺术既是“社会事实”又是“自律的”。其中,它对自律艺术和对商业化艺术的关注,无论是在罗蒂还是在伽达默尔那里,都没有这种双重轨迹的见解。
Neo-Marxist aesthetics unveils the principal areas of aesthetics such as the philosophy of art, natural aesthetics and the aesthetic theory of everyday life by linking aesthetic with the community as a whole, in an energetic way. It foresees the sublation of art through its realization in everyday life, and finally the affluence of human life. The main tendencies of neo-Marxist aesthetics lie in the discussion and elucidation of the role of art in the light of the important changes that art leads to social orientation and cultural orientation. This concern with regard to art being deeply rooted in society makes the new Marxist aesthetics highly timely. The superiority of the new Marxist aesthetics lies in the fact that it sees that modern society always has two sides. It is superior to other schools such as pragmatism or hermeneutics in that it reflects art in such a way that art exists both within and outside the sphere of society. Art is both a “social fact” and a “Self-discipline”. Among them, there is no such double track about the importance of self-discipline and the commercialization of art, both in Rorty and in Gadamer.