从表现主义之争看西方马克思主义美学的艺术形式观念

发布时间：2018-05-11 11:27

本文选题：艺术形式 + 表现主义之争　；参考：《陕西师范大学》2007年硕士论文

【摘要】： 1937～1938年在德国马克思主义理论界开展了一场表现主义之争，这场争论虽然发生在上个世纪30年代，却始终是马克思主义美学研究的一个热点。表现主义之争是西方马克思主义美学的一件公案，这其中有着深刻的社会历史原因，这场论争是由于对表现主义的评价引起的，也是围绕着如何评价表现主义等现代主义艺术而展开的。本文从这场争论中三位典型人物卢卡契、布莱希特、本雅明的理论出发，通过论述他们对艺术的表现形式的争论，来分析艺术形式在西方马克思主义美学中的特殊地位。西方马克思主义认为艺术是在精神领域进行革命的有力工具，因此，艺术的形式被历史化了，政治化了，意识形态化了。这场争论有着深刻的社会历史原因，西方工业国家相继进入资本主义高度发展时期，其资本主义基本矛盾因为社会干预而得到解决，社会革命的意识被同化，另外欧洲法西斯主义实施恐怖手段对革命进行压制，政治、经济领域内的革命已不可能，因此这些西方马克思主义者只能将革命的方向转向精神文化领域，致力于在自由的思想文化领域建造批判武器。这种思想反映在艺术文化领域内，就是人们开始思考现实主义还能否像它在19世纪那样，为我们创造辉煌，是我们正统的艺术批评遗产。20世纪的文艺现实是出现了许多新的艺术表现形式，如表现主义、象征主义、超现实主义等现代主义艺术，这些新的艺术形式以自我表现为主旨，它们大多表现为消解传统文化所赋予事物的意义，强调个人的体验，形式上无序杂乱，反叛传统的现实主义，因此，在文艺理论界，如何看待和分析这类现代主义文学就成为即时的话题。在这场争论中，匈牙利著名美学家和文艺理论家卢卡契作为保守派，极力维护现实主义，而对表现主义等艺术形式持全盘否定的态度。卢卡契从总体性出发，认为只有现实主义才能真正反映社会面貌，，反映人的完整个性。卢卡契认为表现主义只是抽象的反对资本主义，这种抽象的方法论总是导致形式上的主观随意性，而内容上却是空洞的抽象，这种抽象不可能揭示现象的社会根源，只能导致脱离“斗争的核心”。布莱希特是德国奥格斯戏剧作家，他也提倡现实主义，但是他认为现实主义是要求用新的形式来表现现实。他要求新的表现现实的能力，就要掌握新的艺术技巧。在他的叙事剧戏剧理论中，要求戏剧通过对“间离”技巧的运用达到一种陌生化效果，“间离”就是与现实相异，这样可以使观众产生惊异和好奇心，引导观众对所表现的过程或人物采取一种探讨的批判态度。布莱希特提倡用新的技巧表现现实，这就给表现主义留有余地。本雅明是20世纪前半期德国重要的文学评论家，与卢卡契相反，他认为现代艺术才是真正有力的艺术，这类艺术有最强烈的破坏力，可以对资本主义社会提出尖锐的批判。他将马克思主义生产理论运用到美学研究中，他认为作家就是生产者，艺术被作为商品通过机械大批量的复制，技术手段的革新将艺术从特权阶级的垄断中解放出来，使艺术成为人民的产品，可以成为人民批判社会的工具，这是艺术的解放。所以本雅明拥护表现主义等现代艺术。表现主义之争被认为是继马克思、恩格斯与拉萨尔关于济金根的论争后，马克思主义美学中又一重要论战。无论是对现实主义的维护，要求用新的艺术技巧表现现实，还是对现代艺术的开放支持态度，都可以看出艺术的表现形式在西方马克思主义美学中的重要地位。西方马克思主义是基于一种革命性的文化策略，把文化创造的活力和思想的自由放在首位，因此，艺术在西方马克思主义美学中有独特激进的意义，成为一种新的革命工具，而艺术的表现形式往往是这种社会责任的承担者。无论是现实主义还是表现主义，都是针对现实的具体运用，已具有社会政治意义。
[Abstract]:In 1937 - 1938 , there was a contest of expressionism in the Marxist theory circle of Germany , which , though in the 1930s , has always been a hot spot of Marxist aesthetics research .

The struggle of expressionism is a public case of western Marxist aesthetics , which has profound social and historical reasons . This debate is based on the evaluation of expressionism and how to evaluate expressionism and other modern art . This paper analyzes the special position of art form in western Marxist aesthetics . Western Marxism holds that art is a powerful tool in the spiritual field . Therefore , art forms are history , politicized and ideological .

The debate has profound social and historical reasons , the western industrial countries have entered the capitalist high development period successively , their capitalist basic contradiction has been solved because of social intervention , the revolution in the political and economic fields has been impossible , and so the western Marxists can only turn the revolutionary direction to the spiritual culture field , and devote themselves to the construction of critical weapons in the field of freedom of thought and culture .

This kind of thought is reflected in the field of art and culture , it is whether people begin to think about realism as well as it in the 19th century , it is our orthodox art criticism heritage . The 20th century literature and art reality is the modern art that has appeared many new forms of art , such as expressionism , symbolism , surrealism and so on .

In this debate , the famous Hungarian aesthetician and the literary and art theorists , Lukaschi , as a conservative , try to maintain realism and have a totally negative attitude towards expressionism , etc . The Lukaschi believes that only realism can truly reflect the social aspect and reflect the complete personality of the human .

Brecht is a German Austrian drama writer who also advocates realism , but he believes that realism is a requirement to show reality in a new form . In his narrative drama drama theory , it is necessary to grasp new artistic techniques . In his narrative drama drama theory , it is necessary for the drama to adopt a kind of critical attitude towards the process or character being displayed .

Benjamin is an important literary critic in Germany in the first half of the 20th century . On the contrary , he believes that modern art is a truly powerful art . This kind of art has the strongest destructive power and can put forward sharp criticism to the capitalist society .

The struggle of expressionism is considered to be another important debate in Marxist aesthetics following the debate between Marx , Engels and Ramsar on Ji Jin - root . Whether it is realistic or open to modern art , it can be seen that the expression of art is an important position in western Marxist aesthetics . Western Marxism is a revolutionary tool , and the expression of art is often the principal of this kind of social responsibility .

【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2007
【分类号】：J01

【引证文献】