马克思主义文论中国化视阈下西马意识形态批评研究

发布时间：2018-07-10 09:49

本文选题：西马意识形态批评 + 马克思主义文论　；参考：《复旦大学》2007年博士论文

【摘要】： 在影响我国当代文论发展的西方理论话语中，西方马克思主义文论(以下简称西马文论)不仅因其理论本身的魅力而且因其对中国马克思主义文论来说所独具的亲和力而占有重要地位。考察中西马克思主义文论的关系，既可以是平行研究，也可以是影响研究，本文属于后者，即在马克思主义文论中国化视阈下考察西马意识形态批评在中国当代文论中的影响及效应。西马文论对我国新时期文论产生了深层次影响，然而影响并非单向的，本文在历时性梳理西马文论在我国语境中接受和研究的同时，论证了中国戏曲传统和思想以及毛泽东思想作为理论资源分别在布莱希特、阿尔都塞、马舍雷等西马理论家理论话语中的存在，强调西马文论作为马克思主义文论在特定社会文化语境中具体化的成果，一定程度上受到作为马克思主义文论中国化成果的毛泽东思想的影响，反过来又给我们思考马克思主义文论中国化以启示。本文对作为核心概念的意识形态进行了概念史的梳理，指出马克思理论话语中的意识形态并非仅仅是否定性的、批判性的，西马理论家正是在此基础上将其由作为虚假意识的阶级向度扩展到心理、语言和日常生活等向度，而这种多元化理解则成为西马文论影响新时期文论的重要支点之一。从新时期文论发展实际以及西马接受和研究状况出发，本文从西马克思主义文论在意识形态与艺术生产、意识形态与审美、意识形态与审美乌托邦等三个论域切入对西马意识形态批评之中国影响和效应的考察。艺术生产论不仅是西马意识形态批评的重要组成部分，也是我国当代马克思主义文论的发展进程中的重要问题域，中西马克思主义艺术生产论共同根植于马克思关于艺术生产的经典论述之中，并由此确立沟通和对话的基础。本文分别对包括从本雅明到伊格尔顿在内的西马艺术生产论以及中国现代文论视域中的艺术生产论进行了梳理，并立足于新时期语境考察了中西马克思主义艺术生产论的沟通和对话，阐述了西马艺术生产论之中国影响和效应的动力机制、展开过程以及效应点所在，指出西马艺术生产论在中国的理论旅行中淡化了其原本对于艺术与资本、审美文本与意识形态生产的重视，转而拓展了新时期文艺本质论问题的理论视野，，并成为观察和思考当文化产业以及展开文化产业研究的理论依据。意识形态与审美之间关系是马克思主义文论的重要论域。本文分别进行了考察了中西方马克思主义文论在各自不同的历史语境对此的思考和探索，并通过他们与马克思主义经典作家基本阐述的理论渊源而讨论中西方马克思主义文论之间的关联域，指出新时期审美意识形态论是中国新时期马克思主义文论中国化的重要成果。伴随着社会经济生活的转型以及西马文论研究的深入，意识形态与审美问题自90年代后期起受到了重新审视，本文集中讨论了对于文艺的政治维度以及审美意识形态论的反思，认为反思表明了我国文艺理论研究在认识文艺本质问题上的深化，但应警惕非此即彼的对立思维方式的陷阱。西马审美乌托邦倾向无可否认，但不应以其虚妄性、非现实性等负面认识遮蔽了对于其正面价值的发掘。本文考察了作为西马审美乌托邦倾向之文化和理论根源的西方文化乌托邦传统、审美本身的超越性维度以及近代思想家的理论探索，阐述了西马审美乌托邦倾向中所内含的人学视野、批判精神和超越性维度，讨论了他们在中国新时期语境中之被遮蔽的根源。本文在考察西马审美乌托邦倾向正负面因素的基础上以新时期文论关于“人”的思考以及对于审美超越性的认识为中心，讨论了中西马克思主义文论对话中的错位，阐述了在消费意识形态蔓延的社会文化语境中西马审美乌托邦倾向对于新时期文论建设的影响和启示。
[Abstract]:In the western theoretical discourse that affects the development of Chinese contemporary literary theory, the western Marx theory (hereinafter referred to as the West horse theory) not only occupies an important position because of its theoretical charm but also for its unique affinity to Chinese Marx's literary theory. The study of the relationship between the Chinese and Western Marx doctrine is not only parallel research. It can also be a study of influence. This article belongs to the latter, that is, to examine the influence and effect of the Western Horse ideological criticism in the Chinese contemporary literary theory under the view of the Sinicization of Marx's literary theory.
The theory of western Malaysia has a deep influence on the literary theory of our country in the new period, but the influence is not one way. In this article, this article combed the acceptance and study of the Western Horse theory in my national language, and demonstrated the traditional Chinese opera and thought and Mao Zedong thought as the theoretical resources in Bly Hitt, Al Du Jose, Machere and other western Malaysia, respectively. The existence of family theory discourse emphasizes that the Western Horse theory, as a result of the materialization of Marx's literary theory in the specific social and cultural context, is influenced to some extent by Mao Zedong thought as the achievement of the Sinicization of Marx's literary theory, and in turn gives us inspiration for thinking of the Sinicization of Marx's literary theory.
This article combs the concept history of the ideology as the core concept, and points out that the ideology in Marx's theoretical discourse is not merely qualitative, and the critical, the Western Horse theorist extends it from the class direction as a false consciousness to the psychology, language and daily life, and this diversity. Understanding has become one of the important pivot points that influence the literary theory of the new period in the new period. From the development of literary theory in the new period and the status of the acceptance and study of Western Horse, this article from the Si Max doctrine in ideology and art production, ideology and aesthetics, ideology and Aesthetic Utopia. Criticism of the influence and effect of China.
The theory of art production is not only an important part of the ideological criticism of western Malaysia, but also an important problem domain in the development process of contemporary Marx's literary theory in China. The theory of the art production of the western and Western Marx doctrine is rooted in Marx's classic exposition of art production, and thus establishes the basis of communication and dialogue. The theory of art production, including the theory of art production from Walter Benjamin to Eagleton and the view of Chinese modern literary theory, is combed, and based on the context of the new period, the communication and dialogue between the Chinese and Western Marx doctrine art production theory is investigated, and the dynamic mechanism of the influence and effect of the theory of the production of Western Horse is expounded. In the course of opening and the effect point, it is pointed out that the theory of art production of Sima desalinated its original emphasis on art and capital, aesthetic text and ideological production in China's theoretical travel, and expanded the theoretical horizon of the question of the essence of literature and art in the new period, and became a study of cultural industry and the study of cultural industry. The theoretical basis.
The relationship between ideology and aesthetics is an important domain of Marx's theory of literary theory. This article examines the thinking and exploration of the Chinese and Western Marx doctrine in different historical contexts, and discusses the Chinese and Western Marx theory through the origins of their theory and theory which are basically explained by the classic Marx writers. The relationship between the aesthetic ideology of the new period is an important achievement of the Sinicization of Marx's literary theory in the new period of China. With the transformation of social and economic life and the deepening of the study of western Malaysia, the ideological and aesthetic issues have been reexamined since the late 90s. This article focuses on the politics of literature and art. The reflection on the dimension of governance and the theory of aesthetic ideology suggests that reflection shows the deepening of the study of literary theory in our country in the understanding of the essence of literature and art, but we should be on the alert for the trap of opposing thinking mode.
There is no denying the aesthetic Utopian tendency of esthetic, but it should not cover its positive value with its false and unrealistic negative cognition. This article examines the Western cultural Utopian tradition, the transcendence dimension of aesthetic itself and the theoretical exploration of modern thinkers as the cultural and theoretical roots of the esthetic Utopian tendency of the West horse. In this paper, the root of the masking of the aesthetic Utopianism in the aesthetic utopianism of the Western horse was discussed. The reasons for their concealed in the new era of China were discussed. On the basis of examining the positive and negative factors of the aesthetic Utopianism in the Western Horse, this paper took the thinking of "man" and the aesthetic transcendence in the new period. The understanding of sex is the center, and the dislocation in the dialogue between Chinese and Western Marx doctrine is discussed, and the influence and Enlightenment of the aesthetic Utopian tendency of the Western horse to the construction of the literary theory in the new period are expounded in the social and cultural context of the spread of the consumption ideology.
【学位授予单位】：复旦大学
【学位级别】：博士
【学位授予年份】：2007
【分类号】：I06

【引证文献】