《巴黎手稿》在中国的传播与新实践美学  

The Dissemination of Paris Manuscripts in China and New Practice Aesthetics

作　　者：张弓[1] 张玉能[2] Zhang Gong;Zhang Yuneng

机构地区：[1]华东政法大学人文学院,上海201620 [2]华中师范大学文学院,湖北武汉430079

出　　处：《学术研究》2019年第11期145-152,178,共9页Academic Research

基　　金：2014年广西高校科研重点项目“马克思主义美学的中国形态研究”（ZD2014110）的阶段性成果

摘　　要：20世纪90年代实践美学与后实践美学展开了一场论争,在这次论争中实践美学发展到了新的阶段,产生了新实践美学。新实践美学与马克思的《巴黎手稿》有着密切的关系。新实践美学自觉地以《巴黎手稿》作为基本依据,认为《巴黎手稿》已经是马克思主义美学和文论的奠基之作。新实践美学从《巴黎手稿》的实践本体论和艺术生产论出发研究美学和文论,把美和审美及其艺术作为实践(劳动)的产物;以《巴黎手稿》论述的“美的规律”和“人的本质力量的对象化”的命题为基础,阐发了新实践美学的人学维度;以《巴黎手稿》中实践的创造性自由为中心,建立了完整的实践美学的美学范畴体系;从《巴黎手稿》的艺术生产论出发,综合艺术掌握论、艺术意识形态论,展现了马克思主义美学和文论的丰富性和开放性。In the 1990s,there was a controversy between practical aesthetics and post-practical aesthetics,in which practical aesthetics developed to a new stage and produced a new practical aesthetics.The new practical aesthetics is closely related to Marx’s Paris Manuscripts.The new practical aesthetics consciously takes the Paris Manuscripts as the basic basis,which confirms that the Paris Manuscripts is already the foundation of Marxist aesthetics and literary theory.The new practical aesthetics studies aesthetics and literary theory from the practical ontology and artistic production theory of Paris Manuscripts,and regards beauty and aesthetics and their art as the product of practice(labor);On the basis of the proposition of“the law of beauty”and“objectification of the essential power of man”discussed in Paris Manuscripts,this paper expounds the human dimension of the new practical aesthetics;Based on the creative freedom of practice in Paris Manuscripts,a complete aesthetic category system of practical aesthetics is established.Starting from the artistic production theory of Paris Manuscripts,this paper combines art mastery theory and art ideology theory,and shows the richness and openness of Marxist aesthetics and literary theory.

关 键 词：新实践美学 《巴黎手稿》 劳动 美的规律 人的本质力量 

分 类 号：B83-0[哲学宗教—美学] I01[文学—文学理论]