从诗学的审美诉求到批判的社会规划——马尔库塞对俄国形式主义的反思与批判  

From Poetic Aesthetic Appeal to Critical Social Programming—Marcuse's Reflection on and Critique of Russian Formalism

作　　者：杨向荣[1] 

机构地区：[1]湘潭大学文学与新闻学院

出　　处：《俄罗斯文艺》2012年第2期16-22,共7页Russian Literature & Arts

基　　金：国家哲学社会科学基金项目"齐美尔与法兰克福学派文艺理论的关联研究"(10CZW007);湖南省教育厅重点项目"文学与图像关系研究:基于学理层面的考察"(11A126)阶段性成果

摘　　要：俄国形式主义的"陌生化"主要着眼于通过特定的艺术形式从而恢复主体的感性认知,而马尔库塞的"新感性"则主要着眼于通过特定的方式,把个体的感性从理性的束缚下解放出来,并使之成为一种批判性因素。"新感性"意欲恢复个体的感性与理性,实现感性与理性的融合,进而达到批判现实和自我救赎的目的。"新感性"的提出也是马尔库塞对西方社会现代文明进行批判的武器,马尔库塞以期用"新感性"恢复"人性完整"的崇高使命。从"陌生化"到"新感性",我们可以审视形式及其相关问题是如何从俄国形式主义的审美诉求转变为西方马克思主义的社会规划。＂Defamiliarization＂ in Russian Formalism mainly focuses on recovering the perceptual cognition of the subject by means of specific artistic forms. Whereas, Marcuse＇s ＂New Sensibility＂ mainly concentrates on librating the individual＇s sensibility from rational constraints through a specific method and making it a critical factor. ＂ New Sensibility＂ intends to recover the individual＇s sensibility and rationality, achieve the integration of sensibility and rationality, and then reach the purpose of criticizing the reality and of redeeming itself. ＂ New Sensibility＂ is also Marcuse＇s weapon to criticize modern civilization of the western society. Marcuse expects to regain the ＂completeness of humanity＂ by virtue of ＂ New Sensibility ＂. From ＂ Defamiliarization ＂ to ＂ New Sensibility＂, we can examine how the form and its related issues are transformed to Western Marxism＇s social programming from Russian Formalism＇s aesthetic appeal.

关 键 词：俄国形式主义 马尔库塞 审美诉求 社会规划 

分 类 号：I512.06[文学—其他各国文学]