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作 者:肖琼 Qiong XIAO(Communication University of Zhejiang)
机构地区:[1]浙江传媒学院电视艺术学院 [2]浙江大学当代马克思主义美学研究中心
出 处:《马克思主义美学研究》2023年第1期254-265,445-446,共14页Research on Marxist Aesthetics
基 金:国家社科基金一般项目“治理美学视域下当代马克思主义批评话语转向研究”(20BZW038)阶段性成果
摘 要:当代社会,随着作为艺术哲学存在的现代美学最终让位于作为文化哲学存在的后现代美学,美学不再作为艺术的同义词,而是作为补充,从特定的艺术经验拓展到更广泛的审美经验。美学的影响和指导的范围逐渐扩大,审美作为一种资本及其隐性逻辑贯行和支配着我们日常生活中的方方面面。美学经验、美学趣味、美学时尚和美学视野重新作为批评话语进入人们的视野。这时的批评就不仅仅是具体文学中对文本符号的哲学解析与作家文学经验的汇聚,更是对一定社会经验和文化生活方式的凝练和表达;不仅仅是具体的文学文本批评,更包括对当代大众文化、消费文化、媒介文化等新兴文化经验和审美经验的研究与概括。文章从艺术的当代性与现代批评的危机和挑战切入,分析马克思主义美学批评的当代转向和批评话语特征,进一步分析其功能转换和当代批评任务。In contemporary society,modem aesthetics as the existence of art philosophy finally gave way to post-modem aesthetics,which exists as a philosophy of culture.Aesthetics is no longer used as a synonym for art,but as a complement to it,expanding from a specific artistic experience to a broader aesthetic experience.The influence and guidance of aesthetics have gradually expanded,and aesthetics as capital and its implicit logic penetrate and dominate every aspect of our daily life.Aesthetic experience,taste,fashion and vision re-entered people’s vision as critical discourse.Meanwhile,criticism is not only the philosophical analysis of textual symbols and the convergence of writers’literary experiences in specific literature,but also the condensation and expression of certain social experiences and cultural lifestyles;it is not only the criticism of specific literary texts,but also the study and generalization of emerging cultural and aesthetic experiences such as contemporary mass culture,consumer culture and media culture.The article enters from the crisis and challenges of the contemporaneity of art and modem criticism,analyzes the contemporary turn of contemporary Marxist aesthetic criticism and the characteristics of critical discourse,and further analyzes its functional transformation and contemporary critical tasks.
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