“抵抗”美学的先锋性现实主义景观——以彼得·魏斯小说三部曲《抵抗的美学》为例  

Avant-garde Realism in Peter Weiss's The Aesthetics of Resistance

作　　者：马蕾 Ma Lei(Zhengzhou University, Zhengzhou, China 450001)

机构地区：[1]郑州大学外语学院

出　　处：《当代外国文学》2019年第1期64-72,共9页Contemporary Foreign Literature

基　　金：河南省教育厅项目"‘抵抗’-彼得.魏斯<抵抗的美学>之美学观和美学实践研究"(2019–ZZJH–518);郑州大学博士科研启动项目的阶段性成果

摘　　要：20世纪七八十年代,德国艺术家彼得·魏斯在小说三部曲《抵抗的美学》中,提出"抵抗"美学构想,旨在以文化解放推动人类政治解放,现实主义美学是其探讨重点。此构想在对多部西方艺术名作的阐释中呈现,其中毕加索的《格尔尼卡》成为刻画现实的典范。它用狂乱和迷惑的抽象立体手法,揭露了法西斯空军轰炸西班牙格尔尼卡的暴行,从现实批判性和艺术革新意义上诠释出美学"抵抗"精神。借助魏斯剖析《格尔尼卡》解构、构建、接受的艺术生产过程,本文推导出"抵抗"美学的面貌,意在展现现实主义的美学潜能和其"抵抗"内涵。Peter Weiss’ s The Aesthetics of Resistance, a three-volume historical novel written during 1970 s–1980 s, marks the summit of his literary career, where he manages to construct an "Aesthetics of Resistance" that promotes political liberation through cultural liberation. He presents his aesthetic vision through his reading of numerous classics of western art. In particular, Picasso’s Guernica, according to Weiss’ s reading,is a masterpiece that reveals the atrocities of war through its representation of the fascist bombing of the Spanish town of Guernica. Picasso’s complexly abstract technique is typical of avant-garde realism, which expresses an aesthetic spirit of "resistance" within both social criticism and artistic creation. Taking Weiss’ s analysis of Guernica as a starting point, this article explores his idea of aesthetic resistance, examining the aesthetic potential of realism and its significance as "resistance".

关 键 词：彼得·魏斯 《抵抗的美学》 先锋性现实主义 

分 类 号：I516.074[文学—其他各国文学]